Merleau-Ponty spent the summer of 1960 in the small French village of Le Tholonet writing Eye and Mind. His choice of location was no accident. Le Tholonet was the physical and emotional epicenter of Paul Cezanne’s late painting, the ultimate proving ground of his relentless quest to reveal the truth of landscape in art.It makes perfect sense that Merleau-Ponty wrote Eye and Mind in Le Tholonet. The essay is a philosophical meditation on vision and painting. But it also is a (...) meditation on place, in the deeply saturated sense that encompasses the landscape, its natural and human history, and the history of the painter who brought this part of Provence to universal visibility in his art. Le Tholonet is the terroir of Eye and Mind, the site and soil of this final, extraordinary expression of Merleau-Ponty’s thinking. Merleau-Ponty passa l’été 1960 dans le petit village français de Le Tholonet en écrivant L’OEil et l’Esprit. Le choix de ce lieu n’est pas accidentel. Le Tholonet était l’épicentre physique et émotionnel de la dernière peinture de Paul Cézanne, le terrain d’essai final de sa quête incessante pour arriver à révéler la vérité du paysage dans l’art. C’est tout à fait sensé que Merleau-Ponty ait écrit L’OEil et l’Esprit à Le Tholonet. L’essai est une méditation philosophique sur la vision et sur la peinture. Mais c’est aussi une méditation sur le lieu, sur le sens profondément saturé qui entoure le paysage, sur son histoire naturelle et humaine, et sur l’histoire du peintre qui porta, par son art, ce coin de la Provence à la visibilité universelle. On pourrait alors dire que Le Tholonet est le terroir de L’OEil et l’Esprit, le site et le sol de cette expression finale et extraordinaire de la réflexion de Merleau-Ponty. Merleau-Ponty trascorse l’estate del 1960 nel piccolo villaggio francese di Le Tholonet, dedicandosi alla scrittura de L’occhio e lo spirito. La scelta di questo luogo non fu casuale. Le Tholonet fu infatti l’epicentro fisico ed emotivo della pittura dell’ultimo Cézanne, il campo di prova finale del suo tentativo instancabile di rivelare la verità del paesaggio nell’arte. È del tutto coerente che Merleau-Ponty abbia scritto L’occhio e lo spirito a Le Tholonet. Il saggio costituisce una riflessione filosofica sulla visione e sulla pittura, ma rappresenta anche una meditazione sul senso di un luogo, secondo un’accezione densa che comprende il paesaggio, la sua storia naturale e umana, e la storia del pittore che attraverso la sua arte ha portato questa parte della Provenza a una visibilità universale. Le Tholonet è il terroir de L’occhio e lo spirito, il sito che ospita e il terreno che nutre quest’ultima straordinaria espressione del pensiero di Merleau-Ponty. (shrink)

Desde finales del siglo XX, las investigaciones sobre modernidad, orientadas hacia distintos segmentos del campo cultural, han venido ganando un enorme terreno. Las obras de Walter Benjamin, leídas en esta perspectiva, cobran un gran valor. Se busca explorar cuatro temas benjaminianos: a) algunos aspectos de su concepto de historia; b) el concepto de experiencia, para mostrar su dimensión histórico-crítica con respecto al ascenso de la cultura moderna; c) las afinidades entre el modo en que se desarrolla la visión alegórica en (...) el drama barroco alemán y el modo en que Baudelaire afronta las problemáticas de la modernidad; d) elementos de algunas formas culturales del arte moderno que entusiasman a Benjamin. Since the end of the 20th century, there has been increasing research on modernity, especially on different segments of the cultural field. Read in this context, the works of Walter Benjamin acquire great value. The article explores four of Benjamin's themes: a) some aspects of his concept of history; b) the concept of experience, in order to show its historical-critical dimension regarding the rise of modern culture; c) the affinities between the way he allegorical view is developed in German Baroque drama and the way in which Baudelaire deals with the issues of modernity; and d) elements of some cultural forms of modern art that Benjamin is interested in. Desde o final do século XX, as pesquisas sobre modernidade, orientadas a diferentes segmentos do campo cultural, vêm ganhando um enorme terreno. As obras de Walter Benjamin, lidas nessa perspectiva, ganham um grande valor. Neste artigo, procura-se explorar quatro temas benjaminianos: a) alguns aspectos de seu conceito de história; b) o conceito de experiência, para mostrar usa dimensão histórico-crítica a respeito da ascensão da cultura moderna; c) as afinidades entre o modo em que se desenvolve a visão alegórica no drama barroco alemão e o modo no qual Baudelaire enfrenta as problemáticas da modernidade; d) elementos de algumas formas culturais da arte moderna que entusiasmam Benjamin. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Nietzsche, Philosophy and the Arts ed. by Salim Kemal, Ivan Gaskell, and Daniel W. ConwayHans SeigfriedSalim Kemal, Ivan Gaskell, and Daniel W. Conway, editors. Nietzsche, Philosophy and the Arts. Cambridge: Cambridge University Press, 1998. Pp. xv + 351. Cloth, $69.95.The editors contend that much contemporary reflection on the relationship between philosophy and art has been shaped by Nietzsche’s “experiments with an ‘aesthetic politics’ and a politization of aesthetics.” (...) For this reason, all contributions examine Nietzsche’s aesthetic account of the origins and ends of philosophy and the transformative power of aesthetic activity in social and personal life. They concentrate on his idea of a strictly aesthetic justification of existence. The editors argue that Nietzsche, more [End Page 686] than other philosophers, understood “art as the basic transformative impulse known to human experience,” that he replaced the traditional theoretical justification of existence with an exclusively aesthetic justification, and that he not only theorized about art, but also had artistic aspirations, and that this “dual relationship to art” accounts for his continued influence. They hope that this collection will “set out the ground for future debate” of these matters.The volume is well organized. Grouped in three parts, four essays discuss basic aspects of Nietzsche’s idea of art as a transformative power, three his understanding of particular arts and the influence of his ideas on them, and five the connection between the transformative power of art and the values that guide our transactions in social and political matters. In Part One, E. Behler, M. Nussbaum, A. Del Caro, and R. Havas discuss the power of art in ironic distancing in passion, “Dionysian rapture,” and the justification of existence. In Part Two, S. Bann explores Nietzsche’s ideas about historical consciousness and representation in French romanticism, T. W. White examines the connection between Utopian vision and genuine truth in Klimt’s “Beethoven Frieze,” and J. Carvalho discusses “improvising without memory” in jazz as an illustration of Nietzsche’s Dionysian model for self-transformation. In Part Three, F. Jenkins compares and contrasts moral and aesthetic self-formation, H. Staten reconstructs “the common matrix of aristocratic-authoritarian and democratic-liberationist tendencies in Nietzsche’s writings,” S. Kemal develops some implications of the final rejection of the “artists’ metaphysics” that Nietzsche still defended in his annus mirabilis (1886), D. W. Conway scrutinizes the political and aesthetic roles philosophers could and should play, and C. Crawford reviews some physiological processes involved in aesthetic transformation in the arts of dance, song, laughter, etc.Although the importance of Nietzsche in the discussion of art in our culture cannot be overestimated, one might want to quarrel with the editors’ claim that there are no other philosophers who believed as strongly as did Nietzsche that art was “the basic transformative impulse” in human experience. The same view was carefully developed by Dewey in Art as Experience and expanded in many other contributions to cover almost all areas of experience. But Nietzsche’s view of art and his idea that all human efforts need a strictly aesthetic justification still belong to the very best we have, and they deserve further discussion more than anything else in his writings.While these essays go a long way toward explaining the transformative power of art and aesthetic justification, they ultimately do not make clear what precisely Nietzsche’s reasons were for insisting that the meaning of existence can be justified only aesthetically and not conceptually, or why he thought that human experience is a process of transfiguration, or transformation, and not one of representation or conformation. It might help to review the reasons Nietzsche initially gave for abandoning the belief that existence can be transparently organized by the received “mechanism of concepts, judgments, and inferences,” and why he rejected the principle of sufficient reason as the basis of knowledge and dismissed the idea of “correct perception.” His description of experience as the “aesthetic operation”—Verhalten, not Verhältnis, as translated—of tentatively transferring things into a delicately woven web of changing human needs and interests does not mean that Nietzsche abandoned the conceptualization of experience. [End Page 687] Rather, it shows why we must recognize conceptualization as an... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Christianity and Human Rights: Influences and IssuesJohn D’Arcy MayChristianity and human rights: Influences and issues. Edited by Frances S. AdeneyArvind Sharma. Albany: State University of New York Press, 2007. xi + 228 pp.The existence of the “Universal Declaration of Human Rights by the World’s Religions” (UDHRWR) deserves to be more widely known, and this book not only reproduces the text, drawn up for a conference in Montreal (...) to mark the fiftieth anniversary of the UN’s Universal Declaration of Human Rights (UNUDHR, 1948), but offers a point-by-point comparison of the two documents by Frances Adeney and a series of papers that illuminate the issues raised by such declarations from very different points of view. The premise of the whole undertaking is that religious perspectives were not adequately represented in the UN Universal Declaration of Human Rights, though even this is questioned by some of the contributors. The UDHRWR explicitly mentions the right to change one’s religion, asserting in article 18 (1): “There shall be no compulsion in religion. It is a matter of choice,” and it includes “the rights of nature and the earth” (art. 29 [1]; see also 24 [2]). Article 12 (4 and 5) also asserts the duty and the corresponding right of not denigrating the religions of others. Article 16 (5) mentions monasticism as an institution worthy of protection alongside marriage. [End Page 172]In an extremely detailed examination of the work of the Third Committee, which brought the original UN document to the floor of the General Assembly, Sumner B. Twiss finds abundant evidence that religious issues were debated at great length, with great respect, and from a wide range of cultural and religious backgrounds. The committee included representatives of Christian, Confucian, Marxist, Hindu, Buddhist, and Muslim traditions, and Twiss claims that it is a mistake to regard the document they produced as either Western or secular in intent. The question of the relationship between rights and duties was thoroughly debated, as were the social dimensions of both and the underlying theological and ideological issues. Although religious terminology was eventually omitted, this was agreed in an atmosphere of exemplary tolerance and mutual understanding. Twiss concludes: “The UDHRWR is redressing a nonexistent problem presumably posed by the UDHR” (p. 69).Nevertheless, in the present context of the desecularization or resacralization of the world, a more explicit treatment of religious aspects of human rights seems appropriate, and the papers collected here raise problems that are still with us. Frances Adeney introduces several of them: the distinction between public and private spheres, the relative weighting given to creation and sin, and the relationship between rights and duties. The specifically Christian contribution to the debate, in her view, is the insistence on the universality of human rights derived from the biblical conception of the human as the “image of God,” so that “Christians through the ages have assigned a transcendent worth to human beings” (p. 20). The dimension of community is signaled by the extension of the covenant from ethnic group to faith community, thus linking the covenant family of God to the unity of humankind. Whether this link is strong enough to secure the universality of human rights, however, remains an open question.The Christian ethicist Max Stackhouse counterposes to this the “profound individualism” implicit in human rights thinking: it is this, rather than abstract or absolute universals, that lays the basis for civil society and, in its Christian variants, “provides the safest havens for non-Christian religions to flourish without political control” (p. 49). It is the rights of each individual, not of communitarian entities, that are to be respected. The religions tend to be particularistic, but this does not mean that the sources of human rights thinking are necessarily secular humanist. Stackhouse leaves us with two very significant questions: “... whether we can form a global civil society that does not have a theologically based inner moral architecture,” and whether “human rights principles become more effective without attention to their roots and justifying ultimate legitimations” (p. 50). Terry Muck also confronts us with the tensions between universality and cultural specificity, the individual and the communal, arguing that religions all... (shrink)

Raimon Panikkar és, sens dubte, un dels pensadors que més ha contribuït a la reflexió sobre el pluralisme i la interculturalitat, uns conceptes que van molt més enllà de la mera tolerància, d’un relativisme banal o d’un multiculturalisme fàcil. Malgrat la set de comprensió universal, Panikkar considera que no hi ha ni pot haver-hi una única perspectiva humana universal: hi ha invariants humanes, però no hi ha universals culturals. És a dir: tothom menja, és actiu i descansa, però (...) el sentit que es dóna a l’aliment, a la feina i al repòs és molt diferent segons les cultures. I és que tota cultura humana representa d’una manera peculiar i limitada la possible gamma sencera de l’experiència humana en determinades condicions concretes. La persona pluralista fa falsos tots els absolutismes, tots els fanatismes i tots els reduccionismes. (shrink)

Jerrold Levinson’s Contemplating Art provides the readers with a variety of heterogeneous topics and issues. The discussants who took part in the Forum about Levinson’s book chose four different “tracks” dealt with, offering four different reflections. The main topics of the debate are: music, historicity, aesthetic properties and aesthetic contextualism. Starting on the fact that music is one of the main fields of Contamplating Art Alessandro Bertinetto focus his paper on the ‘musical’ chapters of the book that 1) (...) defend the theory of musical expressivity presented by Levinson in his previous books ; 2. articulate it in reference to particular aspects of musical experience, and 3. examine its contribution for the understanding of the narrative and dramatic dimension of music as well as 4., in general, for its artistic value. Michele Di Monte’s aim is to focus on the questions raised by the alleged essential historicality of the concept of art and the formal definition of the concept itself. He discusses, in particular, the epistemic basis and status of what Levinson calls ‘our present concept of art’, the logical outcomes of its role in defining and identifying the art of the past and the problematic relationship between a universality requirement and the theory’s pretension to historicality. Filippo Focosi discusses in the first place the passages of Levinson’s book where his paradigmatic aesthetic principle explicitly occurs; secondly, he shows how such a principle, as is there articulated, can disclose interest perspectives on other aspects of Levinson’s theories about art and aesthetic properties. The paper by Lisa Giombini focuses on on the role of context in Levinson’s definition of art.Afterdefining Levinson’s version of aesthetic contextualism, Giombiniunderlines how Levinson’s intentional-historical definition may provide fertile ground for a peculiar form of contextualism where the relevant context is constituted by the history of art and the practice of art alone. Finally she inquires whether Levinson’s identifying works of art with wholly relational intentionally-historically defined concepts may interfere with his adhesion to aesthetic realism. (shrink)

Resumen. El presente documento tiene como finalidad plasmar la importancia que tiene el tomar encuenta los deseos y necesidades de los espectadores para el éxito económico de las organizaciones deproducción cinematográfica mexicanas. Se establecen las funciones culturales y económicas quedeben considerar los directores y productores de las organizaciones aquí estudiadas. Por otro lado, seubica los diferentes grados de insatisfacción en los que cae un espectador al que no le agradó lapelícula. Se propone el concepto “Síndrome Lozano-Barragán”* para ubicar a aquellasorganizaciones (...) de producción cinematográfica que culpan a los espectadores que quedaroninsatisfechos, del fracaso en taquilla, además de argumentar que dichos espectadores no supieronentender la película o que no saben de la naturaleza de la misma. Por último, hacemos algunasrecomendaciones que pueden seguir las organizaciones de producción cinematográfica para evitareste síndrome e incrementar la satisfacción de los espectadores.Palabras Claves. Organizaciones de producción cinematográfica, industria cultural, síndrome Lozano-Barragán, espectadores, insatisfacción.. The main purpose of this document is to state the importance of taking into considerationthe desires and needs of the spectators by the Mexican film production organizations has for theireconomical success. It establishes the cultural and economic functions that filmmakers studied onthis document must consider. On the other hand, it locates the different degrees of the dissatisfactionin which a spectator can falls into when he or she doesn´t like the movie. We propose the “Lozano-Barragan syndrome”* concept, to distinguish those film production organizations that blame thedissatisfied spectator, for the box office failure, as well as, they argued that those spectators didn´tunderstand the movies or that they don´t understand the nature of it. Finally, we make somerecommendations that could de followed by the film production organizations to avoid this syndromeand increase the spectator satisfaction.Keywords. Film production organizations, cultural industry, Lozano-Barragan syndrome,spectators, dissatisfaction. (shrink)

El text d’Ian Ground la traducció del qual transcrivim a continuació va ser llegit a l’acte de presentación del seu llibre ¿Arte o chorrada? (València, Publicacions de la Universitat de València / Col•lecció Estètica & Crítica, 2008) el dia 9 de juny de 2008 a l’Aula Magna de l’edifici del Carrer La Nau de la Universitat de València, amb la presència, a més d’Ian Ground, de Romà de la Calle (en qualitat de Director de la col•lecció Estètica & Crítica) i (...) de mi mateix, Salvador Rubio (en qualitat de traductor, editor i autor de la introducció del llibre). El text va ser llegit en anglés pel seu autor, alternat, paràgraf per paràgraf, amb la lectura de la traducció castellana. Hem preferit que el text traduit aparega ací en castellà, exactament igual al que va ser llegit a l’esmentat acte de presentació. La reflexió que ens proposa Ian Ground, en cara que específicament concebuda per a aquest acte, no necessita cap presentació i pot ser llegida perfectament com un text autònom. Tanmateix, em permet precedir-la amb unes quantes observacions que no pretenen sustituir les meues paraules a l’acte (on, naturalment, els agraïments eren els protagonistes) ni tampoc la introducció del llibre ja publicada, i a la qual es pot remetre directament el lector d’aquest article. (shrink)

https://revistes.uab.cat/enrahonar/article/view/v27-habermas.

Este texto presenta en un primer momento el movimiento propio de la fenomenología a-subjetiva de Patočka a partir de su crítica de la versión subjetivista del aparecer, para así posteriormente mostrar una dinámica fenomenológica que comprende la manifestación como la obra misma del mundo. En este sentido, el destino de la fenomenología se trasciende en la elaboración del a priori universal de la correlación que estipula la universalidad de una manifestación anónima. Es así que finalmente la fenomenología se modifica (...) en una cierta cosmología que nos obligará a repensar una nueva acepción del ser del sujeto y que postula un nuevo sentido de ser del mundo a partir de una concepción asubjetiva del aparecer.This text initially presents the specific movement of Patočka’s a-subjective phenomenology, itself based on his critique of the subjectivist version of the Appearing. Subsequently a phenomenological dynamic comes to light, which understands the manifestation as the very world’s work. In this way, the phenomenological’s fate is inflected by the formulation of the universal a priori of correlation that stipulates the universality of an anonymous manifestation. Finally, phenomenology is perceived as a certain cosmology which will commit us to rethink of a new meaning for the subject’s being and of the world’s being from an asubjective’s conception of the Appearing. (shrink)

Trobar la forma d’expressar quelcom per al qual no hi ha paraules fou un dels reptes que assumí Levi quan volgué explicar la cruel deshumanització que va sofrir com a presoner al Lager. Nogensmenys, hi va trobar la solució mitjançant el concepte d’animal. En aquest sentit, el seu testimoni és ple de metàfores faunístiques que representen el patiment de la seua reducció cap al fons i la crueltat de ser tractat com una bèstia a la qual podien assassinar i (...) que patia com un esclau castigat. Levi confirma amb les seues analogies que la deshumanització és una metamorfosi animal. Tanmateix, la tesi d’aquest assaig és que la deshumanització no és convertir-se en una bèstia, sinó transformar-se en allò que nosaltres hem fet dels animals. Una proposició que afirmem gràcies a l’etologia, que ens evidencia que el comportament real de les feres no equival a estar pres ni a ser humiliat. De fet, creiem que la raó principal per la qual Primo Levi pensava que la deshumanització era animalitzar-se sorgeix arran d’una ideologia antropocèntrica. (shrink)

La pensée du corps. Un parcours esthétique chez le dernier Merleau-PontyLe but de cette contribution est de chercher à reconstruire un parcours théorique, entre plusieurs autres possibles, en mesure de montrer comment l’art, en particulier la peinture, incarne chez le dernier Merleau-Ponty la possibilité d’un autre type de pensée. Il s’agit de la tentative de suivre une idée qui semble faire son chemin au sein de la réflexion que l’auteur consacre à la Nature et puis à l’Etre brut et sauvage, (...) ou bien aussi dans celle d’une pensée enracinée dans la corporéité, qui devient une chose qui pense et qui fait penser. Une hypothèse de sens qui ouvre à une investigation de la chair humaine, et qui aboutit au résultat visible de cette pensée qui est corps et qui trouve dans la vision de l’art moderne ses signes les plus paradigmatiques.Il s’agit d’un itinéraire exégétique qui propose, en substance, un double plan: d’une part, une lecture de l’essence du corps, dans la facticité primordiale de la Nature, dans lequel se loge une sorte d’ontologie de la cavité et, de l’autre, le résultat philosophique possible d’une corporéité qui pense et qui, à travers l’art de la peinture, fait voir une pensée non plus fondée sur la représentation, en dernière instance, une pensée post-métaphysique. Et cela n’est pas sans conséquences pour le rapport de l’homme avec le monde et avec la philosophie.The Thought of Body. An Aesthetic Path in the Final Merleau-PontyThe purpose of this contribution is to try to reconstruct a theoretical path, between several other possibilities, capable of showing how art, in particular painting, incarnates in the final Merleau-Ponty the possibility of another type of thinking. What is at issue is an attempt to follow an idea which seems to make its way within the reflection that Merleau-Ponty dedicates first to Nature, and then to brute and wild Being, or as well in that of a thought rooted in corporeity, which becomes a thing which thinks and which requires thinking. We are following a hypothesis concerning the sense which opens to an investigation of human flesh, and which leads to the visible result of this thought which is body and which finds its most paradigmatic signs in the vision of modern art.What is at issue is an exegetical itinerary which proposes, in substance, a double plan: on the one hand, a reading of the essence of body, in the primordial facticity of Nature, in which a sort of ontology on the cavity lodges itself and, on the other hand, the possible philosophical result of a corporeity which thinks and which, through the art of painting, makes see a thought no longer founded on representation, and is, at the end of the day, a post-metaphysical thought. And that is not without consequences for the relation of the human with the world and with philosophy. (shrink)

La pensée du corps. Un parcours esthétique chez le dernier Merleau-PontyLe but de cette contribution est de chercher à reconstruire un parcours théorique, entre plusieurs autres possibles, en mesure de montrer comment l’art, en particulier la peinture, incarne chez le dernier Merleau-Ponty la possibilité d’un autre type de pensée. Il s’agit de la tentative de suivre une idée qui semble faire son chemin au sein de la réflexion que l’auteur consacre à la Nature et puis à l’Etre brut et sauvage, (...) ou bien aussi dans celle d’une pensée enracinée dans la corporéité, qui devient une chose qui pense et qui fait penser. Une hypothèse de sens qui ouvre à une investigation de la chair humaine, et qui aboutit au résultat visible de cette pensée qui est corps et qui trouve dans la vision de l’art moderne ses signes les plus paradigmatiques.Il s’agit d’un itinéraire exégétique qui propose, en substance, un double plan: d’une part, une lecture de l’essence du corps, dans la facticité primordiale de la Nature, dans lequel se loge une sorte d’ontologie de la cavité et, de l’autre, le résultat philosophique possible d’une corporéité qui pense et qui, à travers l’art de la peinture, fait voir une pensée non plus fondée sur la représentation, en dernière instance, une pensée post-métaphysique. Et cela n’est pas sans conséquences pour le rapport de l’homme avec le monde et avec la philosophie.The Thought of Body. An Aesthetic Path in the Final Merleau-PontyThe purpose of this contribution is to try to reconstruct a theoretical path, between several other possibilities, capable of showing how art, in particular painting, incarnates in the final Merleau-Ponty the possibility of another type of thinking. What is at issue is an attempt to follow an idea which seems to make its way within the reflection that Merleau-Ponty dedicates first to Nature, and then to brute and wild Being, or as well in that of a thought rooted in corporeity, which becomes a thing which thinks and which requires thinking. We are following a hypothesis concerning the sense which opens to an investigation of human flesh, and which leads to the visible result of this thought which is body and which finds its most paradigmatic signs in the vision of modern art.What is at issue is an exegetical itinerary which proposes, in substance, a double plan: on the one hand, a reading of the essence of body, in the primordial facticity of Nature, in which a sort of ontology on the cavity lodges itself and, on the other hand, the possible philosophical result of a corporeity which thinks and which, through the art of painting, makes see a thought no longer founded on representation, and is, at the end of the day, a post-metaphysical thought. And that is not without consequences for the relation of the human with the world and with philosophy. (shrink)

https://revistes.uab.cat/enrahonar/article/view/v27-mccarthy.

Al llibre ¿Què ens fa humans? (2022), Salvador Macip explora la pregunta del títol a través d’un diàleg fructífer entre la ciència i la filosofia. Ara bé, Macip diu que no està interessat en tota la filosofia, sinó només en «la part de la filosofia que ha aplicat el mètode científic » (p. 159). A quina part de la filosofia fa referència exactament? Repassarem les idees principals del llibre de Macip fent especial esment dels filòsofs que es mencionen. Així, podrem (...) tenir una idea més precisa de quina mena de filosofia és la que interessa a Macip. També revisarem breument les referències artístiques incloses al llibre de Macip, ja que el mateix autor afirma que «ciència i art no s’haurien de veure com dues entitats separades (i gairebé antagòniques) […], sinó com components del mateix concepte, el de la cultura humana» (p. 35). (shrink)

: The shepherd embodies a strange and disturbing society. Isolated, marginal, it forms a world apart and evolves in a wild space where mountains, valleys, meadows or forests make up the framework of its activity. In this non-domesticated nature the human presence is suspect. This confusing being is very often represented with an animalized, almost monstrous or deformed body which becomes a metaphor for social order. This grotesque body translates the prejudices of urbanites and elites. It fuels sexual fantasies and (...) symbolizes the disturbances of the natural and social order: freed from the laws of the city, it can try to seduce the young ladies and be insolent in front of the knights. It is a threat to the established order. But the shepherd also carries virtues. It is a model of Christian life: humility and holiness. It belongs to an original humanity, the form closest to divine creation. Two styles of representation of the shepherd therefore oppose the extremes. From texts from the end of the Middle Ages, we will see how the shepherd is an imaginary in opposition to an organized society but that his image has evolved positively until becoming the guardian of traditions and a being who lives in harmony with nature. Key words: stereotypes, shepherd, savagery, holiness, littérature, Middle Ages. Résumé: Le berger incarne une société étrange et inquiétante. Isolé, marginal, il forme un monde à part et évolue dans un espace sauvage où les montagnes, vallées, prés ou forêts composent le cadre de son activité. Dans cette nature non domestiquée la présence humaine est suspecte. Cet être déroutant est bien souvent représenté avec un corps animalisé, quasi monstrueux ou déformé qui devient une métaphore de l’ordre social. Ce corps grotesque traduit les préjugés des urbains et des élites. Il alimente les fantasmes sexuels et symbolise les dérèglements de l’ordre naturel et social : affranchi des lois de la cité, il peut tenter de séduire les demoiselles et se montrer insolent face aux chevaliers. C’est une menace contre l’ordre établi. Mais le berger est également porteur de vertus. C’est un modèle de vie chrétienne : humilité et sainteté. Il appartient à une humanité originelle, forme la plus proche de la création divine. Deux styles de représentation du berger opposent donc les extrêmes. A partir de textes de la fin du Moyen Age, nous verrons comment le berger est un imaginaire en opposition avec une société organisée mais que son image a évolué positivement jusqu’à devenir le gardien des traditions et un être qui vit en harmonie avec la nature. Mots clés : stéréotypes, berger, sauvagerie, sainteté, littérature, Moyen Age. Resumen. El pastor encarna una sociedad extraña y perturbadora. Aislado, marginal, forma un mundo aparte y evoluciona en un espacio salvaje donde montañas, valles, praderas o bosques conforman el marco de su actividad. En esta naturaleza no domesticada, la presencia humana es sospechosa. Este ser confuso a menudo se representa con un cuerpo animalizado, casi monstruoso o deformado que se convierte en una metáfora del orden social. Este cuerpo grotesco traduce los prejuicios de los urbanitas y las élites. Alimenta las fantasías sexuales y simboliza las perturbaciones del orden natural y social: liberado de las leyes de la ciudad, puede tratar de seducir a las jóvenes y ser insolente frente a los caballeros. Es una amenaza para el orden establecido. Pero el pastor también posee virtudes. Es un modelo de vida cristiana, de humildad y santidad. Pertenece a una humanidad original, la forma más cercana a la creación divina. Dos estilos de representación del pastor, por lo tanto, se oponen. A partir de los textos del final de la Edad Media, analizamos la imagen del pastor en oposición a toda sociedad organizada y la evolución positiva de su figura hasta convertirse en guardián de las tradiciones y en un ser que vive en armonía con la naturaleza. Palabras clave: estereotipos, pastor, salvajismo, santitad, literatura, Edad Media. (shrink)

To those who think that an institution must be a function of its history it must seem a considerable anomaly that when universities were first set up in the Middle Ages their main aim, apart from being communities of scholars, was to produce theologians, lawyers and doctors of medicine. For arts and what then had some connection with what we now know as science, as incorporated in the traditional seven liberal arts of grammar, logic and rhetoric, followed by arithmetic, geometry, (...) music and astronomy, were thought of as merely propaedeutic to the study of theology, law and medicine. Those seven liberal arts occupied the student during the course for the B.A., which gave the licence to teach, and some students went no further than that. But the main concern of a university lay in what happened after the B.A., in the attainment of a mastership or in what was in effect the doctorate in one of the three areas which I have mentioned before. Indeed, in some universities, particularly those in the south of Europe, the B.A. was given only scant attention and only lip service was given to the idea of liberal arts. (shrink)

Alexandre Kabera L’Ubuntu est un concept issu des cultures africaines qui signifie « humanité » ou « bonté » en référence à la solidarité et à la fraternité. Il met l’accent sur l’importance de la communauté dans la vie des individus et sur la nécessité de prendre en compte les besoins des autres dans nos propres décisions et actions. Dans le récit de la guérison du paralytique en Marc 2,1-12, on peut voir comment les quatre porteurs et la foule (...) montrent de l’Ubuntu en aidant le paralytique à accéder à Jésus pour recevoir son pardon et sa guérison. Jésus lui-même montre de l’Ubuntu en pardonnant au paralytique et en le guérissant, mettant ainsi ses besoins avant les règles et les préjugés de la société. L’application du concept d’Ubuntu en exégèse peut donc offrir une perspective non occidentale sur le texte biblique en mettant en lumière les valeurs de communauté et de compassion présentes dans le récit. (shrink)

Para este trabajo lo que queremos hacer es un análisis general del arte, así como de sus implicaciones en lo social y en quienes trabajan el aspecto artístico, además de cuestionarnos qué es el arte y qué posibles efectos represente en el público que lo consume o lo adquiere; nuestro escrito no contiene un aparato crítico como tal, sino lo que más bien hacemos es una reflexión en torno a los pormenores señalados, aclarando que las fuentes que se presentan al (...) final del escrito, son de referencia y las mismas que se emplearon para elaborar y dar luz a esta reflexión. (shrink)

Bultmann a-t-il été en partie victime d’une certaine « logique du protestantisme » ? R. Marlé a posé la question. Un théologien protestant peut être d’accord pour le fond avec la critique catholique, mais en la reprenant dans un esprit différent qui fera valoir la particula veri propre à Bultmann. On passera en revue à cet effet les quatre principaux griefs qui lui sont adressés.a) Réduction, au profit de la foi, de l’objectivité de l’historique et de celle du monde. — (...) L’objectivité à revendiquer est celle des données de la croyance, qui sont incarnées, et celle du monde comme lieu de salut. b) Survalorisation de la subjectivité de l’acte de foi au détriment de son contenu. — La particularité de l’engagement de foi dans le présent doit être maintenue, intégrée à une mémoire et à un corps de symbolismes et de références. c) Rejet de la révélation de Dieu à l’extérieur de la raison et de l’expérience historique. — Contre un refus radical à l’excès des médiations de la croyance, on maintiendra que Dieu est « pensable », sans que cela revienne à le « comprendre ». d) Insuffisance de la conception de la théologie comme simple intellectus fidei. — L’exercice théologique doit se déployer sous un horizon universel, mais aussi à un niveau socio-culturel attentif à toutes les inscriptions du religieux dans l’histoire et les mentalités.En définitive, on peut tenir le « fidéisme » du Bultmann pour l’illustration d’un « destin protestant », sans qu’il ait renié pour autant la théologie dialectique, mais pas davantage la théologie libérale, en tant que la première est une riposte articulée à la modernité et non un retour en arrière.Was Bultmann, to some extent, a victim of a certain “Protestant logic”? R. Marlé asked that question. A Protestant theologian can fundamentally agree with the Catholic position but take it in a different spirit, which would highlight the particula veri proper to Bultmann. The four principal complaints addressed to Bultmann in this matter will be reviewed.a) Reduction, in favor of the faith, of the objectivity of the historical and that of the world. — The objectivity demanded is for the tenets of belief, which are incarnate, and for a world as the place of salvation. b) Overvaluing of the subjectivity of the act of faith to the detriment of its content. — The particularity of the engagement of faith in the present must be upheld, integrated into a memory and a body of symbolisms and references. c) Rejection of the revelation of God outside reason and historical experience. — Against a radical refusal of the excess of mediations of belief, one can hold that God is “thinkable”, without being “understood”. d) Lack of the conception of theology as simple intellectus fidei. —The theological task should spread itself under a universal horizon, but also to a socio-cultural level that is attentive to all the inscriptions of the religious in history and mentalities.Finally, one can hold the “fideism” of Bultmann as an illustration of a “Protestant destiny”, without necessarily denying dialectical theology. Nor, indeed, liberal theology, in so far as the former is an articulated reply to modernity and not a return to the past. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE CONCEPT OF POVERTY IN ST. THOMAS AQUINAS'S CONTRA IMPUGNANTES DE/ CULTUM ET RELIGIONEM JOHN D. ]ONES Marquette University Milwaukee, Wisconsin MEDIEVAL CONCEPTIONS of poverty have been given ongoing and serious attention by scholars during this century. The extensive literature on the nature and practice of poverty among the Franciscans bears witness to this. Serious investigation of St. Thomas Aquinas's understanding of poverty, however, is virtually nonexistent. Except for (...) a very recent book by Ulrich Horst,' there are, so far as I know, no monographs or dissertations treating this aspect of Aquinas's thought. The most thorough discussion in English, which falls far short of sustained textual or critical analysis, is given by Philip Mulhern.2 Apart from an article by Silvana Spirito, which primarily focuses on historical issues, one finds only scattered references and notes in other works.3 1 Ulrich Horst, Evangelische Annut und Kirche: Thomas van Aquin und die Annutskontroversen des 13. und beginnenden 14. Jahrhunderts (Berlin: Akademie Verlag, 1992). This work was published after the present article was completed. : Philip Mulhern, Dedicated Poverty (Staten Island: Alba House, 1973), 116-31. "II problema della poverta e deIla perfezione religiosa nell'ambito delie polemiche tra clero secolare e ordini mendicanti," Atti Del Congresso Internazionale, ed. Congresso internazionale Tommaso d'Aquino (Napoli: Edizioni domenicane italiane, 1974), 49-57. Worthy of mention is Scott Swenson's concise, but detailed, note on poverty in the Contra impugnantes (Emerging Concepts of Jurisdiction, Sacramental Orders and Property Rights Among Dominican Thinkers From Thomas Aquinas to Hervaeus Natalis [Ph.D. Diss., Cornell University, 1988], 265, n.159). For a brief discussion of poverty in 409 410 JOHN D. JONES The absence of scholarship in this area stands in marked contrast to the lavish philosophical and theological attention given to many other aspects of Aquinas's thought. If Thomas gave only a cursory nod to the subject of poverty, this absence might be understandable. Over the course of his career, however, Thomas composed several extended discussions and numerous shorter notes pertaining to poverty, concentrating particularly on the nature and practice of poverty in religious life. In addition to the Contra impugnantes Dei cultum et religionem, a relatively early work devoted to a defense of the mendicant orders and mendicant poverty, there are extended discussions of poverty in the Contra pestiferam doctrinam retrahentium homines a religionis ingressu, cc. 14-16, the Summa contra gentiles, bk. III, c.131-35, and the Summa theologiae (51), II-II, q. 184, a. 7, q. 186, aa. 3&6, q. 188, a. 7, etc. There are also brief discussions and references to poverty (paupertas) and the poor (pauper) in nearly thirty other works ranging from the In Sententiarum to various Scripture commentaries.4 My purpose in this paper is to present a close, but by no means comprehensive, textual and critical analysis of Thomas's treatment of poverty in the Contra impugnantes, concentrating on the crucial sixth chapter.5 I am interested in Thomas's conception of Summa theologiae, 11-11, q. 188, a. 7, see John D. Jones, Poverty and the Human Condition (New York: Edwin Mellen Press, 1990), 317-320. Also see Jones, "Poverty and Subsistence: St. Thomas and the Definition of Poverty," Gregorianum 75 (1994): 135-49. 4 The Contra impugnantes dei cultum et religionem and Contra pestiferam doctrinam retrahentes homines a religionis ingressu are contained in the Leonine Opera Omnia, vol. XLI (Rome: St. Thomas Aquinas Foundation, 1970) and in Opuscula theologica, vol. 2, ed. RM. Spiazzi (Turin: Marietti, 1954). An English translation of both works is contained in An Apologyfor the Religious Orders, ed. John Procter (London: Sands and Co., 1902), 50-376 and 377-479 respectively. I am using the Blackfrairs edition of the Summa theologiae (New York: McGraw-Hill, 1964-81). By and large, I have followed existing translations of Thomas's works, although for the sake of accuracy, I have occasionally modified them, especially Proctor's translations of the Contra impugnantes and Contra retrahentes. 5 The discussion of poverty is contained chiefly in chapter 6 (cited in the Marietti edition as 2.5[6]). All citations in my paper will be to this chapter unless otherwise noted. Following typical form, the chapter contains... (shrink)

Fundamento: El Plan D de la carrera de Estomatología concibe la existencia de una disciplina principal integradora denominada Estomatología Integral, sobre la base de la concepción de interdisciplinariedad y la mayor flexibilización curricular. Objetivo: Realizar una valoración de la asignatura Atención Integral a la Familia II del plan D de la carrera de Estomatología. Métodos: Se realizó un estudio descriptivo transversal en la Facultad de Estomatología de la Universidad de Ciencias Médicas de Camaguey en Mayo 2015, mediante el análisis documental (...) del plan de estudio D y programa de la disciplina integradora, se exploraron criterios de profesores sobre las potencialidades y limitaciones del diseño curricular. Fueron encuestados directivos del proceso docente y profesores de experiencia. Resultados: En los objetivos instructivos de la carrera no se incluye el referente a la Estomatología Legal, pero está recogido en los problemas de salud, en los modos de actuación del modelo del profesional y en los objetivos del 4to año donde se imparte la asignatura. La formulación del primer objetivo instructivo se considera muy general y amplia. Conclusiones: La ubicación de la asignatura es correcta en la malla curricular. Tiene suficientes horas de Educación en el trabajo y es adecuada la proporción de las actividades teóricas; como aspectos negativos contenido resalta la extensión y amplitud del tercer tema y la escasez y pobre actualización de la literatura docente. Introduction: The Curriculum D of Dentistry career conceives the existence of a main integrated discipline called Comprehensive Dentistry on the basis of the multi-disciplinary conception and the most curricular flexibility. Objective: To make an assessment of the subject Family Comprehensive Attention II Curriculum D of Dentistry career. Methods: A descriptive-transverse study was performed in the Dentistry Faculty of the University of Medical Sciences in May 2015 by means of the documentary analysis of the Curriculum D and the syllabus of the comprehensive discipline, different professors´criteria were explored about the potencialities and limitations of the curricular design. The board of directors of the teaching process as well as experienced professors were interviewed. Results: The instructive objectives of the career are not included in Legal Dentistry but they are taken into account when dealing with heath problems, the ways of behavior of the future professional and the objectives of the 4th-year subject. The formulation of the first instructive objective is considered very general and broad. Conclusions: Its location is correct bearing in mind the curricular design. It contains enough hours for the practice at dental clinics and a correct gradation of the theoretical activities, a very broad and lengthy content in topic III as well as scarce and not updated literature were the negative aspects. (shrink)

Qu’a donc « voulu dire » l’artiste? Qu’a-t-il recherché? Cette question peut sembler dépassée ou naïve, comme si l’œuvre se suffisait à elle-même. Pour Alessandro Pignocchi, il est impossible de comprendre nos relations aux œuvres d’art sans s’interroger sur les intentions de l’artiste. Les avancées récentes en sciences cognitives suggèrent en effet que chaque aspect de notre expérience d’une œuvre est façonné par les intentions que nous attribuons, pour la plupart inconsciemment, à l’artiste. Nous percevons par exemple, à notre insu, (...) de nombreuses propriétés des œuvres d’art – les traits d’un dessin, certains aspects de la structure des films ou des phrases d’un roman – comme le fruit d’intentions et d’actions que nous aurions nous-mêmes pu produire. Réflexion pluridisciplinaire, cet ouvrage revisite des thèmes classiques de la philosophie de l’art – le concept d’œuvre, la place de l’auteur, du contexte, le rapport de l’œuvre au temps, le statut du jugement artistique – et élabore une série d’outils de pensée visant à enrichir nos relations aux œuvres d’art. Alessandro Pignocchi est docteur de l’EHESS en philosophie et en sciences cognitives, membre de l’Institut Jean-Nicod. Il est aussi illustrateur. (shrink)

Este artículo revisa el modo en que la aparición de objetos críticos, como el Portabotellas de Duchamp, hacen entrar en crisis las nociones tradicionalmente aceptadas respecto de la obra de arte: su manualidad (la “buena factura”, producto de la destreza o habilidad del artista), su función representativa (mímesis) y su valor estético (el ser “bello”, objeto de una contemplación pura y desinteresada). Se plantea, así, que la aparición del ready made configura el momento final de un proceso de disolución de (...) las convenciones artísticas (tanto respecto de la producción como de la valoración de las obras de arte) imperantes hasta el momento. Teniendo en cuenta todo esto, la pregunta que se intenta responder, al final, es: ¿cómo es posible que algo como el Portabotellas pudiera haber sido aceptado como arte, si no cumplía con las condiciones básicas de la noción tal y como se la aceptaba entonces? (shrink)

Comment: This translation contains a correction of an argument in the original English edition, a correction that was subsequently made in the 1999 English Paperback edition, The correction is described below in the final paragraph. Differences in language can seriously restrict one's access to, and knowledge of, the philosophical work that's being done in other countries, and before the publication in 1997 of my book Time, Tense, and Causation, I was not aware of the depth of interest, in Italy, in (...) analytical philosophy in general, and metaphysics in particular. Since that time, however, I've had the opportunity of talking to, and corresponding with, Italian philosophers who are currently working very intensely on problems in the philosophy of time. I very much enjoyed those discussions, and so I'm very pleased indeed that my book has now been translated into Italian. -/- The introduction to the book will provide readers with quite a detailed overview of my approach to the philosophy of time, and of the main theses that I am defending. But perhaps it will be helpful here if I try to sketch, very briefly, the big picture. -/- The central issue in the philosophy of time concerns the choice between tensed and tenseless accounts of the nature of time – or, as I prefer to express it, between dynamic and static conceptions of reality. According to tensed (or dynamic) accounts, there are significant ontological differences between the past, the present, and the future – either because the world contains intrinsic tensed properties of passiveness, presentness, and futurity, or else because the past, the present, and the future are not all equally real. In contrast, according to tenseless (or static) views of the nature of time, there are no intrinsic tensed properties, and the past, the present, and the future are all equally real. In this book, I defend a dynamic view of time dash specifically, one according to which, while the past and the present are now real, the future is not. This view has, of course, a very long history, with a version of it having been defended by Aristotle in his famous discussion of the sea battle tomorrow, in which he argued that, although it is now true – indeed necessarily so – that either there will be a sea battle tomorrow or there will not be one, it is not now true that there will be a sea battle tomorrow, and not now true that there will not be one. Only when tomorrow comes will the world contain states of affairs that make one of these propositions true, and the other false. -/- But while this general view of the nature of time has a very long and distinguished history – and also seems, intuitively, quite appealing – it has become clear, especially in this century, that it is exposed to very strong objections – objections moreover, that come not merely from philosophy, but also from contemporary physics, and especially from Einstein's special theory of relativity. One of the main challenges accordingly, for any defense of a tensed or dynamic view of time, is to show that those objections can be answered. -/- In grappling with those objections, however, one thing that emerged very clearly was that some theses that defenders of tensed approaches to time have traditionally viewed as absolutely essential must be abandoned as unsound. The result is that. I was led to a view of the nature of time that is, in many respects, intermediate between tenseless views of time and traditional tensed approaches. In particular, advocates of traditional tensed views almost always maintain that the simplest temporal facts are themselves inherently tensed: they consist of facts such as, for example, that is certain apple is now red. But I maintain that, on the contrary, the simplest temporal facts, rather than being intrinsically tensed, are facts to the effect, for example, that a certain apple is now red at time t. On this fundamental issue, then, I agree with those who accept a tenseless or static view of time, since they too hold that the simplest tensed facts ¬– and indeed all tensed facts – are not tensed facts. How, then, does my approach to the nature time differ from a tenseless or static approach? The answer is that I also maintain that, although basic tensed facts are not inherently tensed, the world is nevertheless a dynamic one, since every present moment is a point at which things come into existence. Events, therefore, are not merely actual or nonactual – as is maintained by advocates of tenseless approaches to time. Rather an event is actual as of some time, and not actual as of other times. One needs, therefore, a temporally indexed notion of actuality, according to which an event is not actual until the time at which it occurs, and given that notion, one can explain, in a straightforward fashion, what it is for events to lie in the past, the present, and the future, and in the way that entails that the past and the present are real, but the future is not. -/- One task, as I have said, is to show that the many objections that have been advanced against dynamic conceptions of the world dash by philosophers – such as McTaggart, Quine, Smart, Putnam, and Mellor – can be answered. But even if, as I claim, this can be done, one is still left, of course, with the question of what positive reason there is, if any, for accepting a tensed or dynamic view of the world. -/- The argument that I develop in response to this question centers upon the concept of causation, and here I argue, first, that there are decisive objections to reductionist approaches to causation; secondly, that it is possible to set out a very plausible realistic account of the nature of causation; and, thirdly, that the crucial postulates that are involved in that account can only be satisfied in a dynamic world – indeed only in a dynamic world in which the past and the present are real, but the future is not. -/- This way of defending the view that our world is a dynamic one also has implications for some other issues – in particular, issues connected with the subtle and very difficult metaphysical question of the relation between time and causation. Thus, after setting out the above argument, I attempt to show that if causation can exist only in a dynamic world, then one can both demonstrate that backward causation is logically impossible and defend the view that the direction of time is to be defined in terms of the direction of causation, rather than vice versa. -/- Finally, a comment on the text. It involves one major change from the original English edition – namely in sections 4. 6.2 and 4.7. The change in those sections involves the crucial part in my argument both for the claim that our world is one where the past and present are real, but the future is not, and for the claim that backward causation is logically impossible. It was pointed out to me by Kenji Murota, a graduate student of philosophy at Keio University, that there was a problem in my original formulation of that argument. I'm grateful to him for his incisive criticism, and I'm pleased that I've had the opportunity of correcting that argument in the present edition. (shrink)

Tous les philosophes reconnaissent que tous les hommes aspirent au bonheur mais ils se divisent en deux groupes. Les premiers affirment le caractère illusoire ou accessoire du bonheur au regard de fins supérieures. Pour Pascal, l'homme est impuissant à atteindre le bonheur ; sa quête est la marque et la trace d'un vide que seul Dieu peut remplir. Selon Kant, le bonheur est un concept indéterminé et purement empirique, idéal de l'imagination ; s'il en fait son but, l'individu ne (...) répond pas à l'impératif moral qui est de prendre pour fin le bonheur d'autrui. Kant reconnaît qu'exiger de chacun le sacrifice de son propre bonheur est une maxime contradictoire. Il professe aussi que seule la vertu rend digne du bonheur, mais doit admettre que dans le monde il n'y a pas de lien nécessaire entre la moralité et le bonheur. Pour échapper à ces apories, la raison pratique doit postuler l'immortalité de l'âme et l'existence de Dieu. Les seconds récusent cette hypothèque religieuse et prônent l'acceptation de la vie et la confiance en la raison comme guide dans la conduite de l'existence et la recherche du bonheur. Ils invitent à aimer la vie telle qu'elle nous est donnée et à jouir de son être comme Montaigne le recommande au chapitre XIII du Livre III des Essais. L'indispensable corrélat est de recourir à «la raison vigilante qui recherche avec soin les motifs de ce qu'il faut choisir et de ce qu'il faut éviter et rejette les vaines opinions à cause desquelles le plus grand trouble s'empare des âmes» (Epicure, Lettre à Ménécée). Cet essai s'inscrit dans cette filiation et vise à esquisser une démarche possible. Tout bonheur ne peut être cherché qu'à travers la confrontation avec l'existence. Elle comporte de nombreuses épreuves : consentir aux limites qui enserrent notre condition, dépasser les figures obligées qui se répètent dans nos parcours, assumer les difficultés des relations avec autrui, écarter les illusions dont la dissipation est amère. A l'issue de ce cheminement, il incombe à chacun d'inventer ses propres règles, de tracer son itinéraire afin de saisir les promesses de la vie et de l'art. (shrink)

This paper argues that concepts of legality in legal theory can be profitably understood as being underwritten by modes of spatio-temporal objectification. In the first part of the paper, a scheme of such modes is provided, and a map of jurisprudential inquiries is thereby offered. In the second part of the paper, two concepts of legality – underwritten by two different modes of spatio-temporal objectification – are analysed. The analysis shows how both concepts of legality lead to different sets of (...) prescriptive resources as to the evaluation and design of legal systems. Finally, it is argued that the response of legal theory to practical challenges within the public sphere cannot afford to be based on any one concept of legality. Rather, we need to be pluralists about concepts of legality, recognising the limitations of any one such concept – represented, in this paper, by way of spatio-temporal objectification that underwrites those concepts. A crisis in legal theory can- not be claimed on the basis of any alleged lack of correspondence between any one concept of legality and reality. On the contrary, a crisis will ensue to the extent that legal theory becomes dominated by theoretical imperial- ism, namely, by the belief that any one concept of legality is capable of capturing the world as it is, and, therefore, also capable of standing as a foundation for a prescriptive agenda. The vice of theoretical imperialism in- duces anxiety over the identity of a discipline, and leads to a quelling of the very theoretical diversity that is required for an ethical response to the spe- cific complexity of the public sphere.Resumen:En este artículo se sostiene que los conceptos de legalidad, dentro de la teoría del derecho, pueden entenderse con mayor provecho si se piensa que están determinados por modos de objetivación espacio-temporal. En la primera parte se presenta un esquema de tales modos y, de esa manera, se ofrece un mapa de las investigaciones iusfilosóficas. En la segunda parte, se analizan dos conceptos de legalidad —determinados por dos modos diferentes de objetivación espacio-temporal—. El análisis muestra cómo ambos conceptos de legalidad conducen a diferentes conjuntos de fuentes prescriptivas para la evaluación y el diseño de los sistemas jurídicos. Finalmente, se sostiene que la respuesta de la teoría del derecho a los problemas prácticos del ámbito público no puede basarse en un solo concepto de legalidad. Por el contrario, es necesario ser pluralistas sobre los conceptos de legalidad y reconocer las limitaciones de cada uno de ellos —representados, en este ensayo, por la objetivación espacio-temporal que los suscribe—. No se puede asegurar que la teoría del derecho esté en crisis sobre la base de una presunta falta de correspondencia entre algún concepto de legalidad y la realidad. Por el contrario, aquella se generará en la medida en que la teoría del derecho llegue a estar dominada por un imperialismo teórico, a saber, por la creencia de que cualquier concepto de legalidad es capaz de capturar el mundo tal como es, y, por lo tanto, que es capaz de erigirse como fundamento para una agenda prescriptiva. El vicio de un imperialismo teórico induce una inquietud sobre la identidad de una disciplina, y conduce a sofocar la diversidad teórica que se requiere para dar una respuesta ética a la complejidad concreta del ámbito público. (shrink)

Parler de l'homme connaissant, c'est poser des questions, notamment : une perspective scientifique unifiée sur l'esprit ("cognitivisme") est-elle légitime? En quoi l'intuition et la construction de concepts peuvent-elles rendre compte des mathématiques, mais aussi, analogiquement, de l'art et de la langue? Quel rapport y a-t-il entre la connaissance et les normativités morale et juridique? Les présents essais – "L'esprit pensé", "Ce que nous devons à Augustin", "L'intuition et après", "La morale et la fable" – abordent ces questions fondatrices à (...) partir d'un point de vue critique sur les différents régimes de nos connaissances. (shrink)

Tercer i últim volum de les memòries lliures i impertinents d’un dels filòsofs i educadors més influents de Catalunya En els dos primers volums de les seves memòries, el filòsof i pedagog Octavi Fullat s’ha revelat per a molts lectors com un dels intel·lectuals de referència del segle XX català. El seu estil, hereu de la profunda senzillesa d’Albert Camus, combina de manera inconfusible la memòria, l’assaig i la narració. Després de La meva llibertat i La meva veritat , en (...) aquest tercer i últim volum Octavi Fullat ens condueix pels secrets de l’art i la bellesa: l’emoció que pot despertar el cos d’una dona, la conversa a l’entorn d’un diàleg platònic acompanyat amb un bon vi francès o la rememoració d’una màgica nit africana. Per les pàgines d’aquest llibre hi transiten pensadors com Schopenhauer o Hegel, pintors com Van Gogh o Tintoretto, escriptors com Dante o Rilke, músics com Mozart o Beethoven i, com calia esperar, punyents al·lusions al nostre país i als seus polítics. Així, es tanca l’obra més personal d’un home que mai no ha buscat recer i que sempre ha viscut per la llibertat, per la veritat i per la bellesa. Compra La meva bellesa en E-book Web d'Octavi Fullat Octavi Fullat Nascut a Alforja (Baix Camp) el 1928, és doctor en Filosofia per la Universitat de Barcelona i catedràtic de Filosofia de l’Educació de la Universitat Autònoma de Barcelona des de 1986. Ha rebut diversos premis i, des de 1996, és membre numerari de l’Institut d’Estudis Catalans. Ha estat deixeble de Lévi-Strauss, Michel Foucault i Jean Wahl, i doctor honoris causa a Mèxic i Xile. Ha impartit cursos a diferents universitats d’Europa i Amèrica. Ha estat president del Consell Escolat de Catalunya i del Consell Superior d’Avaluació del Sistema Educatiu de Catalunya. És autor de nombrosos estudis sobre pedagogia, filosofia, ètica, antropologia i història, entre els quals destaquen, La moral atea de Albert Camus (1963), Marx y la religión (1974), Filosofías de la educación (1992), Política de la educación (1994), Antropología y Educación (1997), Els valors d’Occident (2001), El siglo postmoderno (1900-2001) (2002), L’autèntic origen dels europeus (2005), La meva llibertat (2006) i La meva veritat (2008), aquests dos últims publicats per Angle Editorial. (shrink)

Further Questions. A Way Out of the Present Philosophical Situation(via Merleau-Ponty)This essay contains a short analysis of Merleau-Ponty’s Eye and Mind. The analysis focuses on the final pages of Eye and Mind, in which Merleau-Ponty speaks of a false imaginary. It is through this consideration of the “false imaginary” that we can determine Merleau-Ponty’s contribution to the idea of overcoming metaphysics, that is, the transformation of who we are, from manipulandum to being, all of us, painters. More generally however, the (...) short analysis of Eye and Mind functions as the means to open a research agenda for what we have called in the twentieth century “continental philosophy.” The research agenda contains four conceptual features: 1) the starting point in immanence (where immanence is understood fi rst as internal, subjective experience, but then, due to the universality of the epoche, immanence is understood as ungrounded experience); 2) difference (where difference gives way to multiplicity, itself emancipated from an absolute origin and an absolute purpose); 3) thought (where thought is understood as language liberated from the constraints of logic, and language is understood solely in terms of its own being, as indefi nite continuous variation); and 4) the overcoming of metaphysics (where metaphysics is understood as a mode of thinking based in presence, and overcoming is understood as the passage to a new mode of thought, a new people and a new land). But, as we shall see, this conception of philosophy really ends up posing “further questions.” My essay attempts to summarize my new book called Early Twentieth Century Continental Philosophy (Bloomington: Indiana University Press, 2011).Altre domande. Una via d’uscita dalla situazione fi losofi ca attuale(via Merleau-Ponty)Questo saggio contiene una breve analisi de L’occhio e lo spirito di Merleau-Ponty. L’analisi si concentra sulle pagine conclusive dell’opera, nelle quali Merleau-Ponty parla di un falso immaginario. È attraverso l’esame di tale “falso immaginario” che possiamo determinare il contributo di Merleau-Ponty all’idea di un superamento della metafisica, ovvero la trasformazione di chi noi siamo, da manipulandum ad essere, noi tutti, pittori. Più in generale, la breve analisi de L’occhio e lo spirito funziona come mezzo per aprire un programma di ricerca per quella che nel XX secolo abbiamo defi nito “filosofi a continentale”. Tale piano di ricerca presenta quattro aspetti concettuali: 1) il punto di partenza nell’immanenza (laddove l’immanenza è intesa dapprima come esperienza interna soggettiva, ma successivamente, a causa dell’universalità dell’epoché, essa è compresa in quanto esperienza non fondata); 2) la differenza (laddove la differenza apre la via della molteplicità, emancipandosi da un’origine e da un fine assoluti); 3) pensiero (inteso come linguaggio liberato dai vincoli della logica, e compreso solamente nei termini del suo essere proprio, come variazione continua e indefinita); e 4) il superamento della metafisica (laddove per metafisica si intende un modo di pensare basato sulla presenza e per superamento s’intende il passaggio ad una nuova modalità del pensiero, un nuovo popolo ed una nuova terra). Ma, come vedremo, questa concezione della filosofi a finisce per porre “ulteriori domande”. Tale saggio si propone anche di compiere una sintesidel mio nuovo libro Early Twentieth Century Continental Philosophy (Bloomington: Indiana University Press, 2011). (shrink)

Further Questions. A Way Out of the Present Philosophical Situation(via Merleau-Ponty)This essay contains a short analysis of Merleau-Ponty’s Eye and Mind. The analysis focuses on the final pages of Eye and Mind, in which Merleau-Ponty speaks of a false imaginary. It is through this consideration of the “false imaginary” that we can determine Merleau-Ponty’s contribution to the idea of overcoming metaphysics, that is, the transformation of who we are, from manipulandum to being, all of us, painters. More generally however, the (...) short analysis of Eye and Mind functions as the means to open a research agenda for what we have called in the twentieth century “continental philosophy.” The research agenda contains four conceptual features: 1) the starting point in immanence (where immanence is understood fi rst as internal, subjective experience, but then, due to the universality of the epoche, immanence is understood as ungrounded experience); 2) difference (where difference gives way to multiplicity, itself emancipated from an absolute origin and an absolute purpose); 3) thought (where thought is understood as language liberated from the constraints of logic, and language is understood solely in terms of its own being, as indefi nite continuous variation); and 4) the overcoming of metaphysics (where metaphysics is understood as a mode of thinking based in presence, and overcoming is understood as the passage to a new mode of thought, a new people and a new land). But, as we shall see, this conception of philosophy really ends up posing “further questions.” My essay attempts to summarize my new book called Early Twentieth Century Continental Philosophy (Bloomington: Indiana University Press, 2011).Altre domande. Una via d’uscita dalla situazione fi losofi ca attuale(via Merleau-Ponty)Questo saggio contiene una breve analisi de L’occhio e lo spirito di Merleau-Ponty. L’analisi si concentra sulle pagine conclusive dell’opera, nelle quali Merleau-Ponty parla di un falso immaginario. È attraverso l’esame di tale “falso immaginario” che possiamo determinare il contributo di Merleau-Ponty all’idea di un superamento della metafisica, ovvero la trasformazione di chi noi siamo, da manipulandum ad essere, noi tutti, pittori. Più in generale, la breve analisi de L’occhio e lo spirito funziona come mezzo per aprire un programma di ricerca per quella che nel XX secolo abbiamo defi nito “filosofi a continentale”. Tale piano di ricerca presenta quattro aspetti concettuali: 1) il punto di partenza nell’immanenza (laddove l’immanenza è intesa dapprima come esperienza interna soggettiva, ma successivamente, a causa dell’universalità dell’epoché, essa è compresa in quanto esperienza non fondata); 2) la differenza (laddove la differenza apre la via della molteplicità, emancipandosi da un’origine e da un fine assoluti); 3) pensiero (inteso come linguaggio liberato dai vincoli della logica, e compreso solamente nei termini del suo essere proprio, come variazione continua e indefinita); e 4) il superamento della metafisica (laddove per metafisica si intende un modo di pensare basato sulla presenza e per superamento s’intende il passaggio ad una nuova modalità del pensiero, un nuovo popolo ed una nuova terra). Ma, come vedremo, questa concezione della filosofi a finisce per porre “ulteriori domande”. Tale saggio si propone anche di compiere una sintesidel mio nuovo libro Early Twentieth Century Continental Philosophy (Bloomington: Indiana University Press, 2011). (shrink)

Ces Lecons X abordent le phenomene humain hors de la conception toute faite repandue par les doctrines de la transparence. Ici, il s'agit de considerer chaque civilisation et ses facades sociales a l'instar d'un Texte, comme montage langagier, et de reconnaitre la condition theatrale de l'espece douee de parole. Dans cette perspective se revelent les structures dogmatiques du sujet et de la societe qui, du fait du langage, s'entre-appartiennent. La rehabilitation d'une tradition de pensee portee par le terme antique (...) de dogma, transmis par la Grece a l'Occident jusqu'a l'ere industrielle, rouvre des chemins longtemps verrouilles et remet a l'ordre du jour la question immemoriale: que veut dire instituer l'animal humain? Au carrefour de ces chemins: la suprematie de la relation d'identite / alterite, avec ce qu'elle postule du cote du lien d'image, objet des grandes manoeuvres religieuses et politiques. Ainsi, prendre en compte la vie de la representation comme ressort de la fonction d'instituer entraine a interroger les procedures genealogiques d'acces a la realite, les systemes normatifs differencies et, du meme pas, a decouvrir la face cachee du principe de Raison. Sont mises au jour la fragilite humaine et les incertitudes de l'edification sociale. Les echafaudages inventes par l'anthropos pour la reproduction et la survie ne sont intelligibles que mis en rapport avec la dimension de l'Ancetre, autrement dit du Temps, cette vision des lointains, marqueur des civilisations: scenario fondateur, elaboration des attaches au present, horizon de l'inconnu a venir. Cette donnee basique donne relief aux domaines qui sont strategiques parce qu'ils touchent au destin des montages instituants a l'echelle de l'espece: religion, techno-science-economie, regles et preceptes du droit. A notre epoque de deraisonnement multiforme, ou les individus sont malmenes et guettes par la menace de perdre pied, il convient de porter le regard sur ces constructions de discours - poussees de facon recurrente au delire meurtrier, de nos jours sous des formes inedites - et sur leur portee structurale. Si la notion d'anthropologie, aujourd'hui figee et si galvaudee que j'hesitai a la reprendre, peut retrouver vigueur, ce sera au prix du depassement de l'impasse a laquelle a finalement abouti cette discipline: a quoi sert le penser? Reprenant le theme, longuement medite, d'anthropologie dogmatique, ce livre invite le lecteur a s'aventurer sur les sentiers non balises par la doxa contemporaine, oublieuse de son site historial et de ses sources.P. L. (shrink)

Les analyses linguistiques modernes ont mis en lumière une dimension de la communication humaine qui est de l’ordre de la promesse, et qui est applicable au langage de la création. Tout récit de commencement est mythique et symbolique, en tant qu’il relève de l’imagination et qu’il implique la foi dans une promesse d’avenir. Dans la Bible, les récits de création disent l’Alliance de Dieu avec l’humanité, dont l’histoire est précédée par l’acte créateur de l’univers. S’intéressant à l’histoire de la nature (...) à la suite de Newton, Kant fera de l’idée de Dieu un principe, non de connaissance d’un objet, mais de régulation de la recherche, et il accepte de parler d’une finalité de la création pour rendre compte de la liberté humaine. Le paradigme de la création relève d’une pensée de l’agir libre et s’impose quand il est question de l’avenir. L’excès du monde où vit l’homme provoque son admiration et lui donne le pressentiment de la transcendance.De nos jours, l’écologie, avec la prise de conscience de l’environnement, relance le problème de la création sous la forme de l’habitation de l’homme dans son monde. L’anthropocentrisme biblique signifie à cet égard que c’est la tâche de l’homme de rendre ce monde habitable pour tous, sans violence et dans la beauté. Le mythe engage dans une pratique constitutive des liens de société.Modern linguistic analyses shed light on a dimension of human communication that is in the order of promise, and which is applicable to the language of creation. Every story of the beginning is mythic and symbolic, in so far as it comes from the imagination and implicates faith in a future promise. In the Bible, the stories of creation speak of the Covenant of God with humanity, whose history is preceded by an act creating the universe. Kant, who followed Newton’s interest in the history of nature, made the idea of God a principle, not of knowledge of an object but of the control of research. He accepted to speak of a finality of creation in order to understand human freedom. The paradigm of creation comes from the idea of acting freely and imposes itself when there is a question of the future. The excess of the world where man lives provokes his admiration and gives him the presentment of transcendence .In our day, ecology’s concern with the environment brings back the problem of creation under the form of man living in his world. Biblical anthropocentrism means, in this context, that it is the job of man to make this world habitable for everyone, without violence and in beauty. Myth engages in a practice constitutive of the bonds of society. (shrink)

Resumen Ante el dilema de si la Lógica de Hegel debe entenderse como una ontología o como una continuación del proyecto kantiano de la lógica trascendental, el artículo sostiene que no es propiamente una ontología, ni un análisis de conceptos y categorías subjetivas. Su vocación metafísica se basa en el postulado según el cual la reflexión del pensamiento sobre sí mismo tiene consecuencias para la comprensión del ser de lo que no es pensamiento, de modo que resulta ser un proyecto (...) novedoso de ontología mediada por la autorreflexión del pensar.This text faces the dilemma whether Hegel’s Logic must be understood as ontology or as continuation of the Kantian project of transcendental logics. It upholds the thesis that Hegel’s Logic is not properly an Ontology -a direct and immediate description of object’s immanent way of being- nor an analysis of merely subjective concepts and categories. The metaphysical vocation of Hegel’s Logic draws rather on the claim that thought’s self-reflection has necessarily consequences for the comprehension of the being of all that is not thought. Hence, we are facing a groundbreaking project of an ontology that is mediated by thought’s self-reflection. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:THE SUBSTANTIAL UNITY OF MATERIAL SUBSTANCES ACCORDING TO JOHN POINSOT JOHN D. KRONEN The University of St. Thomas St. Paul, Minnesota EVERY SUBSTANCE metaphysician must answer several difficult questions peculiar to his or her ontology. In this paper I will examine John Poinsot's answer to two of these questions, one concerning the nature of the form of substantial composites, and one concerning which material objects are substantial composites. I (...) shall argue that Poinsot's answers to these questions show the untenability of a structuralist view of substantial form and of a reductive materialist view of living beings. But before considering these questions I must briefly outline Poinsot's view of what the general nature of substance is, as explained in his treatise on material logic.1 Poinsot's Account of Substance in General In the section of his Material Logic concerned with the categories Poinsot gives a succinct account of the nature of substance 1 Cursus Philosophicus thomisticus; vol. I, Ars logicae prima et secunda pars, ed. P. Beato Reiser (Turin, Italy: Marietti, 1820), Q. XV, pp. 523-527. It should be noted that I am not concerned in this paper with describing either the psychological origin of the notion of substance, or of justifying it against phenomenalism. My only aim is to show how such a view of substance leads to a certain notion of form when it is applied, so to speak, to material objects. For an interesting account of the origin of the concept of substance in Poinsot see John Deely, Tractatus De Signis: The Semiotic of John Poinsot (Los Angeles, Berkeley, and London: The University of California Press, 1985), p. 86, n. 16. Deely takes it that Poinsot has a deeper categorial scheme than that of Aristotle from which the latter's scheme "emerges," as it were. In this article, then, I am not concerned with that deeper scheme which Deely refers to in this interesting note. 599 600 JOHN D. KRONEN in general and of its relation to the supposit and to the act of existing. He notes that by " substance " narrowly considered is meant that kind of essence to "which it is due to exist in itself as opposed to that kind to which it is due to exist in another" (i.e., an accident).2 He defends this as the primary " definition " 3 of substance against the other definition of it which is " that which stands under accidents," on the grounds that a thing must exist in itself, at least ontologically speaking, before it can support accidents 4 and that to define substance as that which supports accidents is to define it in relation to other things, not itself. This point is important because many modern and contemporary philosophers who have attacked the notion of substance have done so by arguing that there are no beings which stand under accidents. For Poinsot this attack, even if successful, would show that there are no accidents, not that there are no substances. Poinsot insists that " substance " connotes a quiddity to which to exist in itself is due since actual existence does not belong to the essence of any created thing.5 Further, Poinsot insists that to exist in itself " connotes more than a mere negation of existing in another; rather it connotes a positive perfection." This is because to exist in a dependent way is to exist in an imperfect way, so to exist independently must be to exist in a more perfect way.6 Finally, Poinsot distinguishes between the substance and the supposit. The substance is the complete nature of the thing, while 2 Ibid., p. 523. a " Substance " as a supreme genus cannot strictly be defined since it cannot be differentiated from any higher genus. 4 Haec autem proprietas existendi per se intelligitur vel secundum considerationem absolutam et in ordine ad se, et sic dicitur subsistens, quasi non indignes alio ut sustentetur, sed in se sistens; vel dicitur secundum habitudinem ad alia, quatenus ilia sustentat in esse, et sic dicitur non solum subsistens, sed etiam substans. Ibid., p. 523. 5 ••• esse actu per se vel in alio non est ipsa quidditas substantiae vel accidentis, quia esse seu existere in nulla quidditate creata... (shrink)

There is a common view in medical ethics that the patient's right to be informed entails, as well, a correlative right not to be informed, i.e., to waive one's right to information. This paper argues, from a consideration of the concept of autonomy as the foundation for rights, that there can be no such ‘right’ to refuse relevant information, and that the claims for such a right are inconsistent with both deontological and utilitarian ethics. Further, the right to be informed (...) is shown to be a mandatory right (though not a welfare right); persons are thus seen to have both a right and a duty to be informed. Finally, the consequences of this view are addressed: since the way in which we conceptualize our problems tends to determine the actions we take to resolve them, it is important properly to conceptualize patients' requests not to be informed. There may be many reasons for acting in accord with such a request, but it is a mistake to conceptualize one's act as ‘respecting a right possessed by persons’. Keywords: medical ethics, informed consent, autonomy, information-waivers, rights, obligations CiteULike Connotea Del.icio.us What's this? (shrink)

La perception à travers l’imaginationDans le présent travail, je mets en relation les lectures de Wittgensteil et de Gadamer avec les manuscrits de Merleau-Ponty avec l’intention de traverser la construction du « concept de représentation » et de réfléchir sur les questions suivantes : quel lieu occupe la dimension esthétique dans l’expérience humaine? Dans l’expérience esthétique, faut-il retrouver autant le profil émotionnel que le profil cognitif? Le point de départ est que l’esthétique ne doit pas être comprise comme une simple (...) perception par les sens; ce qu’aucun discours sur l’esthétique ne peut occulter est sa nécessaire implication de l’horizon problématique de la perception, à partir de l’étymologie même du terme, dérivé du grec aisthesis.Un tel terme porte en lui autant le champ subjectif instable des sensation que le champ stable et tendanciellement structuré des discriminations perceptives.L’affirmation théorique est que l’expérience de la rencontre d’une oeuvre d’art dévoile un monde et à peine cessons-nous de voir une oeuvre d’art comme objet pour la voir comme un monde que nous nous rendons compte que l’art se révèle être l’expédient pour clarifier le sens de notre rapport perceptif avec le monde, cette syntonie perceptive entre l’essence du monde et le sentir des sujets, cette processualité expressive dans laquelle activité et passivité sont les horizons, qu’on peut certes distinguer dans la description, mais qui coopèrent à l’intérieur d’elle-même.Perception Through ImaginationIn the present work, I bring the lectures of Wittgenstein and Gadamer into contact with the manuscripts of Merleau-Ponty with the intention of going over the construction of the “concept of representation” and of reflecting on the following questions: what place does the aesthetic dimension occupy in human experience? In aesthetic experience, is just as necessary to recognize the emotional profile as the cognitive profile? The point of the departure is that aesthetics must not be understood as a simple perception by the senses. That which no discourse of aesthetics may conceal is its necessary implication of the problematic horizon of perception, following the actual etymology of the term, derived from the Greek aisthēsis.This term contains just as much the subjective and unstable field of sensation as it does the stable field of perceptual discriminations that tend to be structured. The theoretical affirmation is that the experience of the encounter with a work of art unveils a world. No sooner do we stop seeing the work of art as an object and start seeing as a world, then we realize that art reveals itself to be the expedient that clarifies the meaning of our perceptual relationship with the world, this perceptual syntony between the essence of the world and the sensing of subjects, this expressive processuality in which activity and passivity are horizons that can certainly be distinguished in description, but that cooperate internally. (shrink)

La perception à travers l’imaginationDans le présent travail, je mets en relation les lectures de Wittgensteil et de Gadamer avec les manuscrits de Merleau-Ponty avec l’intention de traverser la construction du « concept de représentation » et de réfléchir sur les questions suivantes : quel lieu occupe la dimension esthétique dans l’expérience humaine? Dans l’expérience esthétique, faut-il retrouver autant le profil émotionnel que le profil cognitif? Le point de départ est que l’esthétique ne doit pas être comprise comme une simple (...) perception par les sens; ce qu’aucun discours sur l’esthétique ne peut occulter est sa nécessaire implication de l’horizon problématique de la perception, à partir de l’étymologie même du terme, dérivé du grec aisthesis.Un tel terme porte en lui autant le champ subjectif instable des sensation que le champ stable et tendanciellement structuré des discriminations perceptives.L’affirmation théorique est que l’expérience de la rencontre d’une oeuvre d’art dévoile un monde et à peine cessons-nous de voir une oeuvre d’art comme objet pour la voir comme un monde que nous nous rendons compte que l’art se révèle être l’expédient pour clarifier le sens de notre rapport perceptif avec le monde, cette syntonie perceptive entre l’essence du monde et le sentir des sujets, cette processualité expressive dans laquelle activité et passivité sont les horizons, qu’on peut certes distinguer dans la description, mais qui coopèrent à l’intérieur d’elle-même.Perception Through ImaginationIn the present work, I bring the lectures of Wittgenstein and Gadamer into contact with the manuscripts of Merleau-Ponty with the intention of going over the construction of the “concept of representation” and of reflecting on the following questions: what place does the aesthetic dimension occupy in human experience? In aesthetic experience, is just as necessary to recognize the emotional profile as the cognitive profile? The point of the departure is that aesthetics must not be understood as a simple perception by the senses. That which no discourse of aesthetics may conceal is its necessary implication of the problematic horizon of perception, following the actual etymology of the term, derived from the Greek aisthēsis.This term contains just as much the subjective and unstable field of sensation as it does the stable field of perceptual discriminations that tend to be structured. The theoretical affirmation is that the experience of the encounter with a work of art unveils a world. No sooner do we stop seeing the work of art as an object and start seeing as a world, then we realize that art reveals itself to be the expedient that clarifies the meaning of our perceptual relationship with the world, this perceptual syntony between the essence of the world and the sensing of subjects, this expressive processuality in which activity and passivity are horizons that can certainly be distinguished in description, but that cooperate internally. (shrink)

Los ultimos tiempos se caracterizan, sobre todo, por una mayor conciencia y un mayor interes acerca de los derechos humanos. Sin duda alguna es consecuencia de lo que experimento la humanidad en nuestro siglo. Las dos guerras mundiales, los campos de concentracion y de trabajo, los deportaciones masivas y ejecuciones, los crimenes de guerra y el exterminio de naciones enteras, muestran la violacion mas cruel de la dignidad de la persona humana y de sus derechos fundamentales. Hey dla, los Ilamados (...) derechos humanos, derechos de la persona o derechos naturales gozan de un gran reconocimiento. Sin embargo, 50 anos despues de proclamar la Asamblea General de las Naciones Unidas la Declaracion Universal de Derechos Humanos, el problema mas importante en la doctrina de los derechos humanos lo constituye todavia la busqueda del fundamento de los mismos. La abundante discusion que rodea esta cuestiön muestra diferentes posturas, a voces opuestas. Esta „gran dispersion de enfoques" -como dice Massini- lleva consigo consecuencias necesariamente negativas, porque „no puede sino conducir a su debilitamiento y, en definitiva, a su difuminacion. En ultima instancia, unos derechos quo se intentan justificar de modo tan desemejante y hasta contradictorio, tienden a aparecer como postulados gratuitos, como afirmaciones meramente dogmaticas". A pesar de esta dispersion, los enfoques para justificar los derechos humanos se pueden sintetizar en tres. (shrink)

Los ultimos tiempos se caracterizan, sobre todo, por una mayor conciencia y un mayor interes acerca de los derechos humanos. Sin duda alguna es consecuencia de lo que experimento la humanidad en nuestro siglo. Las dos guerras mundiales, los campos de concentracion y de trabajo, los deportaciones masivas y ejecuciones, los crimenes de guerra y el exterminio de naciones enteras, muestran la violacion mas cruel de la dignidad de la persona humana y de sus derechos fundamentales. Hey dla, los Ilamados (...) derechos humanos, derechos de la persona o derechos naturales gozan de un gran reconocimiento. Sin embargo, 50 anos despues de proclamar la Asamblea General de las Naciones Unidas la Declaracion Universal de Derechos Humanos, el problema mas importante en la doctrina de los derechos humanos lo constituye todavia la busqueda del fundamento de los mismos. La abundante discusion que rodea esta cuestiön muestra diferentes posturas, a voces opuestas. Esta „gran dispersion de enfoques" -como dice Massini- lleva consigo consecuencias necesariamente negativas, porque „no puede sino conducir a su debilitamiento y, en definitiva, a su difuminacion. En ultima instancia, unos derechos quo se intentan justificar de modo tan desemejante y hasta contradictorio, tienden a aparecer como postulados gratuitos, como afirmaciones meramente dogmaticas". A pesar de esta dispersion, los enfoques para justificar los derechos humanos se pueden sintetizar en tres. (shrink)

The Body at the Limits of Representation. The Theory of the Body and Painting in Merleau-PontyIn Eye and Mind,” Merleau-Ponty quotes a phrase from Valéry: “the painter brings his body with him.” He interprets the corporeal experience of the artist, not only as the center of a perceptual orientation or kinesthesis, but also as the inspiration for poets and for painters. In this sense, one can place his theory of body not only within the problematic of the phenomenological constitution of (...) the perceived object, but also in the context of the deconstruction of representation or in the genealogy of “de-representation” (Lyotard). By following Merleau-Ponty’s interpretation of the works of Cézanne and Klee, we are going to see how his theory of the experience of body and the formation of their works of art meet up in his consideration of the reversibility of the visible and the invisible. When Merleau-Ponty quotes Valéry’s phrase “the painter brings his body with him,” the body of the artist is no longer “subject-body” perceiving the world in a prosaic way; rather, the body is implicated in the anonymous vision at the source from which the painter’s expression emerges. Just as nature is recounted through the poet, it has the faculty of seeing itself through the painter. In the “Methods of Natural Research,” Klee says “the resonance surpasses all the optical foundations between myself and that which opposes me,” “the united anti-optic way of the root going out of the earth, which looks at me from down below all the way up to my eyes” and of the “united non-optic way of the universe come from above.” He demonstrates that this non-optic resonance, rather than a mirror and a black screen separating the light, allows the eye to be seen as a point of junction of non-optical things and thereby it constitutes a part of the circle created by the new nature of works (eine neue Natürlichkeit des Werkes). Following what is particular to Merleau-Ponty’s thought in which the body is conceived as a principle of de-representation, one sees, by means of his intention of assessing modern artistic creation as the deconstruction of classical ontology, the overcoming of the ontology of the object. In conclusion, we note that the theory of body and of painting in Merleau-Ponty brings to light the limit of the possibility of representation in modern art, by emphasizing especially the non-perception or the transcendence that one can discern in the perceptual field. By interrogating the body of the painter and the poet, that is, the poetic body or the body as symbolism, prior to its being diverted into being a result of the brain and of the libido where the body is no longer the body visible in the world, by doing this, Merleau-Ponty has found a way of placing the body beyond representation. Poièsis is no longer mimèsis in the banal sense of imitation, and the poetic body is not the representational body. But, he has found a way of placing it still in Visibility, as if there were a hinge in this border between the visible and the invisible, in this border between representation and de-representation, a border that one cannot definitively overcome by structuring it as a dichotomy. (De-representation, but the visible. Therefore the possibility of visible de-representation in the artistic creation, in poièsis.) This hinge, which denies us an alternation, is the body, the flesh, which is the condition of thought as ontological interrogation: an ontological interrogation in the age of ir-representation, in the age of the impossibility of representation (Vorstellung) and of poem (Dichtung), in the age of crowds where the image appears as one of my fellow creatures just like the shadow cast by existence.Il corpo ai limiti della rappresentazione. La teoria del corpo e della pittura di Merleau-PontyNe L’occhio e lo spirito Merleau-Ponty cita una frase di Valéry: “il pittore si dà con il suo corpo”. Egli interpreta l’esperienza corporea dell’artista non solo come il centro di un orientamento percettivo o cinestesico, ma anche come motivo d’ispirazione per poeti e per pittori. In questo senso, si può collocare la sua teoria del corpo non solo all’interno della problematica della costituzione fenomenologica dell’oggetto percepito, ma anche nel contesto della decostruzione della rappresentazione o nella genealogia della “derappresentazione” (Lyotard). Seguendo l’interpretazione merleaupontiana delle opere di Cézanne e di Klee, vedremo come la sua teoria dell’esperienza del corpo e la formazione delle loro opere d’arte convergano nella considerazione della reversibilità del visibilee dell’invisibile. Quando Merleau-Ponty cita la frase di Valéry “il pittore si dà con il suo corpo”, il corpo dell’artista non è più un corpo soggettivo che percepisce il mondo in modo prosaico; il corpo è piuttosto implicato nella visione anonima dell’origine dalla quale emerge l’espressione del pittore. In Wege des Naturstudiums, Klee afferma che “la risonanza sorpassa tutti i fondamenti ottici tra me e ciò che mi si oppone”. Egli dimostra che questa risonanza non-ottica, piuttosto che essere uno specchio o uno schermo nero che separa la luce, permette di vedere l’occhio come un punto di giunzione di cose non ottiche e ciò costituisce una parte del circolo creato dalla nuova natura delle opere (eine neue Natürlichkeit des Werkes). Seguendo la particolarità del pensiero merleaupontiano, secondo il quale il corpo è concepito come un principio di de-rappresentazione, si nota, in virtù della sua intenzione di interpretare la creazione nell’arte moderna come la decostruzione dell’ontologia classica, il superamento dell’ontologia oggettivistica. In conclusione, osserviamo come la teoria del corpo e della pittura di Merleau-Ponty chiarisca i limiti della possibilità della rappresentazione nell’arte moderna, enfatizzando l’impercezione o la trascendenza che si può distinguere nel campo percettivo. Interrogando il corpo del pittore e del poeta – il corpo poetico o il corpo come simbolismo, a monte del suo porsi come risultato della mente o della libido, là dove il corpo non è ancora corpo visibile nel mondo – Merleau-Ponty ha trovato il mondo di collocare il corpo al di là della rappresentazione. Poièsis non è più mimesis nel senso banale d’imitazione, e il corpo poetico non è il corpo rappresentativo. Egli ha trovato il modo di posizionare il corpo nella Visibilità, come se esistesse un punto di rovesciamento situato sul confi ne tra visibile ed invisibile, ovvero sul confine tra rappresentazione e de-rappresentazione: un confine che non si può definitivamente superare se lo si continua a strutturare come dicotomia. Questo punto, che ci nega un’alternativa, è il corpo, la carne, che è condizione del pensiero come interrogazione ontologica: un’interrogazione ontologica nell’era dell’ir-rappresentazione, nell’era dell’impossibilità di rappresentare (Vorstellung) o di creare poemi (Dichtung), nell’era delle masse, in cui l’immagine appare come uno dei miei simili, come l’ombra proiettata dall’esistenza. (shrink)

The Body at the Limits of Representation. The Theory of the Body and Painting in Merleau-PontyIn Eye and Mind,” Merleau-Ponty quotes a phrase from Valéry: “the painter brings his body with him.” He interprets the corporeal experience of the artist, not only as the center of a perceptual orientation or kinesthesis, but also as the inspiration for poets and for painters. In this sense, one can place his theory of body not only within the problematic of the phenomenological constitution of (...) the perceived object, but also in the context of the deconstruction of representation or in the genealogy of “de-representation” (Lyotard). By following Merleau-Ponty’s interpretation of the works of Cézanne and Klee, we are going to see how his theory of the experience of body and the formation of their works of art meet up in his consideration of the reversibility of the visible and the invisible. When Merleau-Ponty quotes Valéry’s phrase “the painter brings his body with him,” the body of the artist is no longer “subject-body” perceiving the world in a prosaic way; rather, the body is implicated in the anonymous vision at the source from which the painter’s expression emerges. Just as nature is recounted through the poet, it has the faculty of seeing itself through the painter. In the “Methods of Natural Research,” Klee says “the resonance surpasses all the optical foundations between myself and that which opposes me,” “the united anti-optic way of the root going out of the earth, which looks at me from down below all the way up to my eyes” and of the “united non-optic way of the universe come from above.” He demonstrates that this non-optic resonance, rather than a mirror and a black screen separating the light, allows the eye to be seen as a point of junction of non-optical things and thereby it constitutes a part of the circle created by the new nature of works (eine neue Natürlichkeit des Werkes). Following what is particular to Merleau-Ponty’s thought in which the body is conceived as a principle of de-representation, one sees, by means of his intention of assessing modern artistic creation as the deconstruction of classical ontology, the overcoming of the ontology of the object. In conclusion, we note that the theory of body and of painting in Merleau-Ponty brings to light the limit of the possibility of representation in modern art, by emphasizing especially the non-perception or the transcendence that one can discern in the perceptual field. By interrogating the body of the painter and the poet, that is, the poetic body or the body as symbolism, prior to its being diverted into being a result of the brain and of the libido where the body is no longer the body visible in the world, by doing this, Merleau-Ponty has found a way of placing the body beyond representation. Poièsis is no longer mimèsis in the banal sense of imitation, and the poetic body is not the representational body. But, he has found a way of placing it still in Visibility, as if there were a hinge in this border between the visible and the invisible, in this border between representation and de-representation, a border that one cannot definitively overcome by structuring it as a dichotomy. (De-representation, but the visible. Therefore the possibility of visible de-representation in the artistic creation, in poièsis.) This hinge, which denies us an alternation, is the body, the flesh, which is the condition of thought as ontological interrogation: an ontological interrogation in the age of ir-representation, in the age of the impossibility of representation (Vorstellung) and of poem (Dichtung), in the age of crowds where the image appears as one of my fellow creatures just like the shadow cast by existence.Il corpo ai limiti della rappresentazione. La teoria del corpo e della pittura di Merleau-PontyNe L’occhio e lo spirito Merleau-Ponty cita una frase di Valéry: “il pittore si dà con il suo corpo”. Egli interpreta l’esperienza corporea dell’artista non solo come il centro di un orientamento percettivo o cinestesico, ma anche come motivo d’ispirazione per poeti e per pittori. In questo senso, si può collocare la sua teoria del corpo non solo all’interno della problematica della costituzione fenomenologica dell’oggetto percepito, ma anche nel contesto della decostruzione della rappresentazione o nella genealogia della “derappresentazione” (Lyotard). Seguendo l’interpretazione merleaupontiana delle opere di Cézanne e di Klee, vedremo come la sua teoria dell’esperienza del corpo e la formazione delle loro opere d’arte convergano nella considerazione della reversibilità del visibilee dell’invisibile. Quando Merleau-Ponty cita la frase di Valéry “il pittore si dà con il suo corpo”, il corpo dell’artista non è più un corpo soggettivo che percepisce il mondo in modo prosaico; il corpo è piuttosto implicato nella visione anonima dell’origine dalla quale emerge l’espressione del pittore. In Wege des Naturstudiums, Klee afferma che “la risonanza sorpassa tutti i fondamenti ottici tra me e ciò che mi si oppone”. Egli dimostra che questa risonanza non-ottica, piuttosto che essere uno specchio o uno schermo nero che separa la luce, permette di vedere l’occhio come un punto di giunzione di cose non ottiche e ciò costituisce una parte del circolo creato dalla nuova natura delle opere (eine neue Natürlichkeit des Werkes). Seguendo la particolarità del pensiero merleaupontiano, secondo il quale il corpo è concepito come un principio di de-rappresentazione, si nota, in virtù della sua intenzione di interpretare la creazione nell’arte moderna come la decostruzione dell’ontologia classica, il superamento dell’ontologia oggettivistica. In conclusione, osserviamo come la teoria del corpo e della pittura di Merleau-Ponty chiarisca i limiti della possibilità della rappresentazione nell’arte moderna, enfatizzando l’impercezione o la trascendenza che si può distinguere nel campo percettivo. Interrogando il corpo del pittore e del poeta – il corpo poetico o il corpo come simbolismo, a monte del suo porsi come risultato della mente o della libido, là dove il corpo non è ancora corpo visibile nel mondo – Merleau-Ponty ha trovato il mondo di collocare il corpo al di là della rappresentazione. Poièsis non è più mimesis nel senso banale d’imitazione, e il corpo poetico non è il corpo rappresentativo. Egli ha trovato il modo di posizionare il corpo nella Visibilità, come se esistesse un punto di rovesciamento situato sul confi ne tra visibile ed invisibile, ovvero sul confine tra rappresentazione e de-rappresentazione: un confine che non si può definitivamente superare se lo si continua a strutturare come dicotomia. Questo punto, che ci nega un’alternativa, è il corpo, la carne, che è condizione del pensiero come interrogazione ontologica: un’interrogazione ontologica nell’era dell’ir-rappresentazione, nell’era dell’impossibilità di rappresentare (Vorstellung) o di creare poemi (Dichtung), nell’era delle masse, in cui l’immagine appare come uno dei miei simili, come l’ombra proiettata dall’esistenza. (shrink)

La problématique de l’institution qui fait jour dans la pensée de Merleau-Ponty tout au long du cours au Collège de France (« L’institution dans l’histoire personnelle et publique », 1954-1955) reprend celle de la Stiftung ouverte par Husserl à fin de rendre compte des actes qui donnent lieu à la genèse et à la réactivation de sens idéaux tant dans la sphère personnelle qu’interpersonnelle. Néanmoins, la notion de Stiftung, propre d’une phénoménologie constitutive, ne suffit pas pour comprendre le choix (...) merleau-pontien de traduction: précisément pour faire partie d’une phénoménologie constitutive, la Stiftung semble plutôt s’opposer à une phénoménologie de l’institution. Et pourtant, celle-ci est posée par Merleau-Ponty à la fois comme une version de la Stiftung et comme une phénoménologie de l’institution. Comment est-il possible? Pour répondre cette question, nous proposons ici de chercher dans une autre tradition qui, moins visible mais non moins fondamentale que la phénoménologique, opère dans l’élaboration merleau-pontienne du phénomène de l’institution : la tradition sociologique et juridique française. Pour le dire avec plus de précision, nous croyons que la notion d›institution sur laquelle travaille Merleau-Ponty dans le séminaire de 1954-1955 ne peut pas être comprise sans la référence à la pensée sociale française du XIXe siècle et débuts du XXe, que nous tenterons de caractériser dans ces pages, une tradition de pensée qui s’inscrit également dans un débat inter-générationnel auquel Merleau-Ponty participe et à travers lequel il s’approprie le concept d’institution pour le reprendre dans une nouvelle version, enrichie par la perspective phénoménologique qui lui est propre. The problem of institution that emerges in Merleau-Ponty’s thought throughout his 1954-55 course at the Collège de France, “Institution in Personal and Public History,” takes up the problem of Stiftung, formulated by Husserl to account for acts that give rise to the genesis and reactivation of ideal senses both in the personal and the interpersonal spheres. However, the notion of Stiftung, characteristic of constitutive phenomenology, is not sufficient to understand Merleau-Ponty’s choice of translation: Stiftung, precisely insofar as it belongs to constitutive phenomenology, seems instead to oppose a phenomenology of institution. Nevertheless, it is presented by Merleau-Ponty both as a form of Stiftung and as a phenomenology of institution. How is this possible? To answer this question, we propose here to look to another tradition that, less visibly but no less fundamentally than phenomenology, is operating in Merleau-Ponty’s elaboration of the phenomenon of institution, namely, the French sociological and juridical tradition. More precisely, we believe that the notion of “institution” that Merleau-Ponty was working on in the course of 1954-1955 cannot be understood without reference to the French social thought of the nineteenth and early twentieth centuries that we try to portray in the following pages. This tradition of thought is also set within the context of an intergenerational debate in which Merleau-Ponty participates and through which he encounters the notion of institution that he takes up in a renewed way, enriched by his own phenomenological perspective. La problematica dell’istituzione, che fa la sua comparsa nel pensiero di Merleau-Ponty durante il corso al Collège de France L’istituzione nella storia personale e pubblica (1954-1955), riprende la problematica della Stiftung, inaugurata da Husserl al fine di rendere ragione di quegli atti che danno luogo alla genesi e alla riattivazione di sensi ideali, tanto nella sfera personale, quanto in quella interpersonale. Tuttavia, la nozione di Stiftung, propria di una fenomenologia costitutiva, non basta per comprendere la scelta di traduzione operata da Merleau-Ponty: proprio poiché parte di una fenomenologia costitutiva, la Stiftung sembra piuttosto opporsi ad una fenomenologia dell’istituzione. E tuttavia, Merleau-Ponty pone quest’ultima, al contempo, come una versione della Stiftung e come una fenomenologia dell’istituzione. Com’è dunque possibile? Per rispondere a quest’interrogativo, ci proponiamo quindi di esplorare un’altra tradizione che, meno visibile ma non meno fondamentale della fenomenologia, è all’opera nell’elaborazione merleau-pontiana del fenomeno dell’istituzione: la tradizione sociologica e giuridica francese. Più precisamente, crediamo che la nozione di istituzione su cui Merleau-Ponty lavora nel seminario del 1954-55, non possa essere compresa senza il riferimento al pensiero sociale francese del XIX ed inizio del XX secolo, che cercheremo di caratterizzare in queste pagine; una tradizione di pensiero che parimenti si iscrive in un dibattito inter-generazionale, a cui Merleau-Ponty partecipa e attraverso cui si appropria del concetto di istituzione per recuperarlo in una nuova versione, arricchita dalla prospettiva fenomenologica che gli è propria. (shrink)

La pensée contemporaine est-elle accessible au concept biblique de fin de l'histoire ? Les sciences de l'univers et celles de la vie ont répandu, à l'aide de diverses notions de temps, des scénarios de fin du monde qui renvoient à la philosophie la question angoissante de l'avenir de l'humanité. Dans le passé, les gnoses avaient élaboré une représentation du temps brisé, que les philosophies modernes ont entrepris de démythologiser de bien des façons : morales purement rationalistes, qui tantôt acceptent tantôt (...) refusent l'idée d'une fin morale, morales utopiques, vision d'un cosmos régi par des lois mécaniques, vision d'une histoire dépourvue de sens et de finalité.Cependant, si la temporalité est inscrite au cœur du réel, la question de la fin ne peut pas être éludée. De nos jours, la pensée de la mort est le lieu d'une interrogation métaphysique sur l'être ; la philosophie de l'histoire pense la fin à la lumière d'une exigence de justice ; la pensée de l'altérité est la postulation d'un dépassement du temps ; dans l'éthique de l'action, la notion d'événement introduit à une destinée de liberté ouverte sur une transcendance ; l'analyse du langage symbolique dévoile la dimension eschatologique de la raison dans sa recherche du vrai : autant d'ouvertures philosophiques sur l'espérance théologale. Is contemporaneous thought accessible to the biblical concept of the end of history ? With the help of different notions of time, universe and life-sciences have spread scenarios of the world’s end that pass on to philosophy the anguishing question of the future of humanity. In the past, gnostics elaborated a representation of broken time, which modern philosophies went about demythologizing in diverse ways : purely rationalistic morals, which at one time accept and another time refuse the idea of a moral end, utopian morals, vision of a cosmos ruled by mechanical laws, and the vision of a history empty of meaning and finality.Nevertheless, if temporality is inscribed in the heart of the real, the question of the end cannot be avoided. In our time, thinking about death leads to a metaphysical interrogation about being ; the philosophy of history thinks about the end in light of a demand for justice ; the idea of alterity postulates the overcoming of time; in the ethics of action, the notion of event introduces a destiny of freedom open to transcendence ; the analysis of symbolic language unveils the eschatological dimension of reason in its search for the true, – these are some of the philosophical openings to theological hope. (shrink)

Resumen: Las reflexiones de la teoría crítica de la sociedad respecto de la diferenciación moderna de la razón le otorgan al arte -y a su experiencia- una singularidad que se presenta bajo un modo de resistencia. Un momento ejemplar de estas indagaciones se expresa en la discusión acerca del concepto de aura para dar cuenta de la diferencia artística. En este escrito nos proponemos reconstruir los aspectos de un concepto crítico de aura estética a partir de la interpretación de su (...) lugar y significación en la teoría social del arte de Theodor Adorno. Para ello revisamos la polémica que sostuvo con Benjamin en torno al carácter pasado del aura; distinguimos los aspectos de la fundamentación del concepto de aura artística en términos de negatividad estética; y, finalmente, extraemos algunas conclusiones en relación con la contribución teórica de este concepto para la crítica de las ideologías estéticas.: The reflections of Critical Theory of society about the modern differentiation of reason, assign to art -and its experience- a singularity which presents itself as a mode of resistance. A paradigmatic moment of this inquiry is the discussion about aura as a key concept to give account of what artistic difference means. In this paper we propose to reconstruct a critical concept of aesthetical aura by means of an interpretation of its place and meaning in Theodor Adorno’s social theory of art. In order to do that, we revise the controversy with Benjamin around the past character of aura; we distinguish the aspects of the foundation of the concept of artistically aura in terms of aesthetical negativity; and, finally, we extract some conclusions in relation to the theoretical contribution of this concept to the critique of aesthetical ideologies. (shrink)

L’objet de cet article est de chercher à dissiper le flou dont souffre le concept d’afición dans le champ du flamenco. L’une des raisons de ce flou est que le concept d’afición s’avère porteur des mêmes ambiguïtés que celui d’amateurisme. On commence alors par rappeler les deux thèses dominantes au sujet de l’afición : une première l’assimile à la passion, une deuxième en fait un mélange de passion et de respect. On montre cependant les limites communes à ces deux thèses (...) : à savoir, un sensualisme qui réduit l’afición à un mode de relation exclusivement sensoriel, sensible et émotionnel au flamenco, et un purisme qui masque l’hybridité des pratiques. On en vient ensuite à recenser les quelques typologies qui ont pu être établies pour rendre compte de la réalité complexe et variée qu’est l’afición. Mais au constat relativiste auquel elles conduisent, on oppose finalement la construction d’une définition prototypique de l’afición. Celle-ci apparaît comme une tendance à éprouver la passion pour un art tendant à exprimer lui-même la passion, soit ce qu’on peut appeler une passion au carré. (shrink)

L’espace esthétiqueLe « renversement du cartésianisme » chez Deleuze et Merleau-PontyCet essai se propose de développer le rapport entre Deleuze et Merleau-Ponty à partir de la tentative des deux philosophes français d’aller au-delà du courantde pensée qu’on pourrait qualifi er, comme le fait Merleau-Ponty lui-même, de « cartésianisme ».Nous commençons notre itinéraire avec la critique que les deux philosophes adressent à la notion cartésienne de « ligne » – passage obligé pour penser, à travers Leibniz et sa notion de « (...) point », la ligne en tant qu’« ensemble de points ». On cherche ensuite à penser une ligne qui ne serait plus tracée dans un espace objectif présupposé, mais plutôt qui « se trace » dans un « espace expressif ».Un tel renversement de la « ligne cartésienne » produit, comme on le verra, des effets qui intéressent également la représentation de la ligne du temps. Émanciper cette dernière du modèle cartésien signifi e la penser par-delà toute référence chronologique, toute dépendance du temps de Kronos. On peut lire dans ce sens la tentative des deux philosophes pour penser le temps de l’événement, le temps de l’Aion. On verra enfin comment, d’un espace et d’un temps anticartésiens, doit naître, pour Merleau-Ponty et Deleuze, une nouvelle grammaire porteuse d’une nouvelle compréhension de la métaphore. Ni l’idée de métaphore proposée par Merleau-Ponty, ni le concept de devenir créé par Deleuze ne concernent une ressemblance fondée sur une identité donnée. Si la métaphore merleau-pontienne et le devenir deleuzien doivent être en mesure de restituer l’essence d’une chose, une telle essence se trouve, ou mieux se crée,à partir d’un mouvement vers « ce que la chose n’est pas ». C’est précisément dans ce sens que Merleau-Ponty lit la métaphore proustienne et que Deleuze cherche à rendre compte des ressemblances créées dans l’oeuvre de Gombrowicz.The Aesthetic SpaceThe “Reversal of Cartesianism” in Deleuze and Merleau-PontyThe present essay proposes to explore the relationship between Deleuze and Merleau-Ponty from the attempt they make to go beyond the current of thought thatwe may qualify, like Merleau-Ponty does it himself, as Cartesianism. We begin our itinerary with the critique that both philosophers direct at the Cartesian notion of the line. The passage through the Cartesian notion of the line is “obligated” in order to think – by means of Leibniz and his notion of point -- the line as a “set of points.” The Cartesian passage is obligated moreover in order to think a line which could no longer be drawn in a presupposed objective space but, rather, which would be “drawn” in an “expressive space.” Such a reversal of the Cartesian line, as we shall see, produces effects that concern also the representation of the line of time. To emancipate the line of time from the Cartesian model means we must think beyond all chronological references, beyond all dependence on the time of Chronos. We are able to read, in this way, both philosophers’ attempt to think the time of the event, the time of Aion. Finally we shall see how, for Merleau-Ponty and Deleuze, a new grammar carrying a new understanding of the metaphor must be born from an anti-Cartesian space and time. Neither the idea of metaphor proposed by Merleau-Ponty nor the concept of becoming created by Deleuze speaks of a resemblance founded upon an identity that is given ahead of time. If Merleau-Ponty’s idea of metaphor and Deleuze’s concept of becoming must be able to produce the essence of a thing, such an essence finds, or better, it iscreated on the basis of a movement toward “what the thing is not.” It is precisely in this sense that Merleau-Ponty reads Proust’s metaphors and that Deleuze will seek to give an account of created resemblances in the work of Gombrowicz. (shrink)

L’espace esthétiqueLe « renversement du cartésianisme » chez Deleuze et Merleau-PontyCet essai se propose de développer le rapport entre Deleuze et Merleau-Ponty à partir de la tentative des deux philosophes français d’aller au-delà du courantde pensée qu’on pourrait qualifi er, comme le fait Merleau-Ponty lui-même, de « cartésianisme ».Nous commençons notre itinéraire avec la critique que les deux philosophes adressent à la notion cartésienne de « ligne » – passage obligé pour penser, à travers Leibniz et sa notion de « (...) point », la ligne en tant qu’« ensemble de points ». On cherche ensuite à penser une ligne qui ne serait plus tracée dans un espace objectif présupposé, mais plutôt qui « se trace » dans un « espace expressif ».Un tel renversement de la « ligne cartésienne » produit, comme on le verra, des effets qui intéressent également la représentation de la ligne du temps. Émanciper cette dernière du modèle cartésien signifi e la penser par-delà toute référence chronologique, toute dépendance du temps de Kronos. On peut lire dans ce sens la tentative des deux philosophes pour penser le temps de l’événement, le temps de l’Aion. On verra enfin comment, d’un espace et d’un temps anticartésiens, doit naître, pour Merleau-Ponty et Deleuze, une nouvelle grammaire porteuse d’une nouvelle compréhension de la métaphore. Ni l’idée de métaphore proposée par Merleau-Ponty, ni le concept de devenir créé par Deleuze ne concernent une ressemblance fondée sur une identité donnée. Si la métaphore merleau-pontienne et le devenir deleuzien doivent être en mesure de restituer l’essence d’une chose, une telle essence se trouve, ou mieux se crée,à partir d’un mouvement vers « ce que la chose n’est pas ». C’est précisément dans ce sens que Merleau-Ponty lit la métaphore proustienne et que Deleuze cherche à rendre compte des ressemblances créées dans l’oeuvre de Gombrowicz.The Aesthetic SpaceThe “Reversal of Cartesianism” in Deleuze and Merleau-PontyThe present essay proposes to explore the relationship between Deleuze and Merleau-Ponty from the attempt they make to go beyond the current of thought thatwe may qualify, like Merleau-Ponty does it himself, as Cartesianism. We begin our itinerary with the critique that both philosophers direct at the Cartesian notion of the line. The passage through the Cartesian notion of the line is “obligated” in order to think – by means of Leibniz and his notion of point -- the line as a “set of points.” The Cartesian passage is obligated moreover in order to think a line which could no longer be drawn in a presupposed objective space but, rather, which would be “drawn” in an “expressive space.” Such a reversal of the Cartesian line, as we shall see, produces effects that concern also the representation of the line of time. To emancipate the line of time from the Cartesian model means we must think beyond all chronological references, beyond all dependence on the time of Chronos. We are able to read, in this way, both philosophers’ attempt to think the time of the event, the time of Aion. Finally we shall see how, for Merleau-Ponty and Deleuze, a new grammar carrying a new understanding of the metaphor must be born from an anti-Cartesian space and time. Neither the idea of metaphor proposed by Merleau-Ponty nor the concept of becoming created by Deleuze speaks of a resemblance founded upon an identity that is given ahead of time. If Merleau-Ponty’s idea of metaphor and Deleuze’s concept of becoming must be able to produce the essence of a thing, such an essence finds, or better, it iscreated on the basis of a movement toward “what the thing is not.” It is precisely in this sense that Merleau-Ponty reads Proust’s metaphors and that Deleuze will seek to give an account of created resemblances in the work of Gombrowicz. (shrink)

Desde la teología y la filosofía podemos comprender el concepto de belleza en el deporte ligado a la dignidad humana. Para ello, en este artículo: a) analizamos desde la antropología del cristianismo el lugar del cuerpo y el valor del deporte en la vida del ser humano; b) abordamos la estética intentando comprender la belleza ligada a la dignidad; a continuación, c) proponemos una educación estética donde la belleza ligada al deporte no está exenta del sufrimiento, las limitaciones físicas o (...) psíquicas del individuo, para que seamos capaces de ver más allá de las formas, en orden a respetar y salvaguardar la dignidad de la persona humana; finalmente, d) reflexionamos sobre el concepto de belleza que profesores y entrenadores están trasmitiendo a los alumnos y a los deportistas a través del deporte, proponiendo un modelo en el que cabe el dolor, el sufrimiento, las limitaciones e imperfecciones sin dejar por ello de ser bellos.From theology and philosophy we can understand the concept of beauty in sport linked to human dignity. Therefore, in this article: a) we analyze, from the anthropology of Christianity, the body and the value of sport in the lives of human beings; b) we boarded the aesthetic trying to understand beauty linked to dignity; then c) we propose an aesthetic education where beauty linked to sport is not without suffering, physical or mental limitations of the individual, so that we are able to see beyond the forms, in order to respect and safeguard the dignity of the human person; finally, d) we reflect on the concept of beauty that teachers and coaches are transmitting to students and athletes through sport, proposing a model that fits the pain, suffering, limitations and imperfections while still being beautiful. (shrink)

Aurélien Djian | : L’ambition de cet article est double. Il s’agit d’abord de fixer le contexte philosophique qui sous-tend le débat entre Derrida et Marion en 1999, à l’Université de Villanova, et de réviser la perspective qui y est formulée selon laquelle le destin de la phénoménologie est intimement lié à une décision à prendre à l’égard du concept d’horizon : « il n’y a pas de phénoménologie sans horizon », affirme Derrida à Marion, il faut donc la dépasser (...) ; « la dernière étape en vue d’une véritable phénoménologie serait d’abandonner le concept d’horizon », rétorque Marion à Derrida. Cette révision de perspective nous conduira alors, dans un second temps, à restituer, en se servant de l’histoire du concept d’horizon comme fil directeur heuristique, le sens de ce que nous appellerons l’histoire française de l’herméneutique phénoménologique, dont l’unité, par-delà la multiplicité des étiquettes, réside dans le partage d’une même définition de l’activité philosophique, comme tentative de laisser se montrer soi-même à partir de soi-même le phénomène par excellence, et, avec et contre le second Heidegger, d’une même exigence de dépassement de l’horizon, solidaire de la métaphysique moderne de la subjectivité. Le principe d’une telle reconstruction permettra enfin d’envisager la possibilité d’une histoire différenciée des concepts alternatifs de phénoménologie et d’horizon, qui reste à écrire. | : The task of this article is twofold. First, it is meant to sketch out the philosophical context within which the Derrida/Marion debate that happened in 1999 at the university of Villanova took place, and to overhaul the perspective that it puts forward, that the destiny of phenomenology itself is linked at the abandon of the concept of horizon : “Without horizon there is no phenomenology”, argues Derrida against Marion ; “the last step for a real phenomenology would be to give up the concept of horizon”, answers Marion to Derrida. This overhaul will then leads us to use the history of the concept of horizon as a heuristical guiding thread to flesh out what makes the unity of what we can call the French history of hermeneutical phenomenology, that is to say, firstly, the sharing of the same definition of philosophy, as the attempt to let the distinctive phenomenon be seen as it shows itself by itself. And, secondly, with and against the second Heidegger, of the same requirement of overcoming the horizon, as it is committed to the modern metaphysics of subjectivity. The principle on which such a reconstruction is based will finally allow us to consider the idea of a differentiated history of the alternative concepts of phenomenology and horizon. History which is yet to come. (shrink)