Resumen El presente texto pretende dar una validez teórica a la noción de verdad involucrada en la utilización del polígrafo. En este sentido, se analiza el concepto de “Aletheia” desarrollado por el filósofo M. Heidegger, pasando desde su primera versión como “ocupación” hasta la última como “contemplación”. También, se presenta el concepto de “ser en el mundo” como un modo de conocer práctico, y en consecuencia, al cuerpo como depositario de una memoria tácita que posteriormente induce y promueve un (...) modo de ser particular. Logrando así, finalmente, obtener un concepto de verdad que vincula las reacciones corporales registradas por el polígrafo y el hecho vivido. Palabras clave: trasfondo tácito; familiaridad;verdad; fenomenología. A Corporeal Notion of TruthThis text endeavors to grant theoretical validity to the notion of truth involved in the use of the polygraph. In this sense the concept of “Aletheia”, developed by the philosopher M. Heidegger, is analyzed starting from its first version as “occupation” to the last one as “contemplation”. Likewise, the concept of “being in the world” is introduced as a means towards practical knowledge and, in consequence, the body as depositary of an implicit memory which later will induce and promote a particular mode of being. Finally we thus obtain a concept of truth that connects bodily reactions registered by the polygraph and the deed that took place. Keywords : Tacit background; Familiarity;Truth;Phenomenology. (shrink)

Resumen: En este trabajo se indaga en las respuestas que Miguel de Unamuno ofrece al problema de la conciencia de ser como parte esencial de la construcción biográfica. A partir de algunas de sus obras más representativas pero, sobre todo, a través la más genuinamente existencialista, Del sentimiento trágico de la vida, tratamos de esclarecer los códigos argumentales sobre los que Unamuno desarrolla, a veces abruptamente, las ideas de memoria, intimidad o mismidad así como las tribulaciones que estas le (...) provocan respecto de dos de los ámbitos doctrinales que más le definen como filósofo: la doctrina del hombre de carne y hueso y la doctrina de la inmortalidad. Constatamos cómo ambas doctrinas, singularmente construidas a partir de la noción de conciencia encarnada, se resuelven a través de la conciencia de singularidad y esta, a su vez, como volición de pervivencia corpórea.: In this work, the answers that Miguel de Unamuno offers to the problem of the consciousness of being as an essential part of the biographical construction are explored. From some of his most representative works but, above all, through the most genuinely existentialist, Del sentimiento trágico de la vida, we try to clarify the argumentative codes on which Unamuno develops, sometimes abruptly, the ideas of memory, intimacy or sameness, as well as the tribulations that these provoke him with regard to two of the doctrinal areas that most define him as a philosopher: the doctrine of man in flesh and bone and the doctrine of the immortality of the flesh. We note how both doctrines, uniquely constructed from a notion of incarnate consciousness, are resolved as a volition of corporeal survival. (shrink)

L’intérêt et l’originalité de l’humanisme merleau-pontien consiste à mes yeux dans sa mise en lumière du dévoilement de l’origine refoulée de l’homme dans le registre de l’art et de l’expression du corps en général. Merleau-Ponty a su percevoir exemplairement ce mouvement de récursion vers l’inhumain dans l’oeuvre de Cézanne. « Je vous dois la vérité en peinture disait Cézanne ». Cézanne nous donne en effet la vérité de l’hominisation en peinture. Nul mieux que Merleau-Ponty nous permet d’entendre encore aujourd’hui la (...) voix de Cézanne. Il nous permet de fonder sur l’écho de cette voix un nouvel humanisme, un humanisme qui garde en mémoire l’inhumain, qui lève le refoulement mais sans le supprimer, tout comme l’artiste présente l’invisible du visible et tout comme le philosophe décrit la profondeur de l’être. Cet humanisme de la surrection est celui de l’apparition de l’homme à lui-même dans la constellation hasardeuse des signes et dans l’adversité du non-sens, à égale distance de l’humanisme sans vergogne des aînés de Merleau-Ponty et de l’antihumanisme postmoderne de ses cadets.The interest and originality of Merleau-Ponty’s humanism lie, in my view, in the unveiling of the repressed origin of humanity in the domain of art and the expression of the body more generally. Merleau-Ponty was able to perceive an example of this recursive movement toward the inhuman in Cézanne’s works. “I owe you the truth in painting,” said Cézanne. In effect, Cézanne gives us the truth of humanization in painting. None better than Merleau-Ponty allows us to hear Cézanne’s voice today. Through the echo of this voice, he allows us to found a new humanism, a humanism that bears the memory of the inhuman, that lifts up the repressed but without effacing it, all while presenting us with the invisible in the visible and exposing the profundity of the human being. This humanism of upheaval is that of the appearance of humanity to itself in a hazardous constellation of signs and in the adversity of non-sense set in equal distance from the shameless humanism of Merleau-Ponty’s predecessors and the postmodern antihumanism of those who came after him.L’interesse e l’originalità dell’umanismo merleau-pontyano consiste ai nostri occhi nella sua capacità di disvelare l’origine rimossa dell’uomo nella dimensione dell’arte e dell’espressione corporea in generale. Merleau-Ponty ha saputo percepire esemplarmente questo movimento di ritorno e di ricorso all’inumano nell’opera di Cézanne. “Je vous dois la vérité en peinture”, affermava Cézanne. Egli ci restituisce, in pittura, la verità dell’ominazione. Ancor oggi nessuno meglio di Merleau-Ponty ci consente di intendere la voce di Cézanne. Merleau-Ponty ci consente di fondare sull’eco di quella voce un nuovo umanismo, un umanismo che conserva memoria dell’inumano, che innalza il rimosso senza sopprimerlo, proprio come l’artista presenta l’invisibile del visibile, e il filosofo descrive la profondità dell’essere. Quest’umanismo della “surrezione” è l’umanismo dell’apparizione dell’uomo a se stesso nella costellazione aleatoria dei segni e nell’avversità del non-senso come rimosso, un umanismo che si pone a uguale distanza dall’umanismo senza vergogna dei predecessori di Merleau-Ponty e dell’anti-umanismo postmoderno dei suoi successori. (shrink)

I examine the passages where Aristotle maintains that intellectual activity employs φαντάσματα (images) and argue that he requires awareness of the relevant images. This, together with Aristotle’s claims about the universality of understanding, gives us reason to reject the interpretation of Michael Wedin and Victor Caston, on which φαντάσματα serve as the material basis for thinking. I develop a new interpretation by unpacking the comparison Aristotle makes to the role of diagrams in doing geometry. In theoretical understanding of mathematical and (...) natural beings, we usually need to employ appropriate φαντάσματα in order to grasp explanatory connections. Aristotle does not, however, commit himself to thinking that images are required for exercising all theoretical understanding. Understanding immaterial things, in particular, may not involve employing phantasmata. Thus the connection that Aristotle makes between images and understanding does not rule out the possibility that human intellectual activity could occur apart from the body. (shrink)

O texto investiga a dimensão “labiríntica” sociedade contemporânea do ponto de vista de sua autocompreensão conceitual, e a dimensão do “esquecimento” do real concreto, que caracteriza esta sociedade do ponto de vista de suas relações humano-ecológicas; a “emergência” do eticamente “excepcional” no real “estado de exceção em que vivemos”, em um cruzamento de categorias levinasianas e benjaminianas, é apresentada como uma possibilidade de escapar a algumas das dificuldades categoriais da filosofia política contemporânea. PALAVRAS-CHAVE – Alteridade. “Estado de exceção”. Labirinto conceitual. (...) Esquecimento. ABSTRACT The text discusses the contemporary society as a society marked by a “labyrinth of abstract concepts”, of its self-understanding, and by the strong incapacity to remember the real concrete, from the standpoint of its human, ecological relations. The emergency of the ethically “exceptional” in the actual “state of exception where we live”, in the intersection of Levinasian and Bejaminian categories, is presented as a possibility to escape some categorical difficulties of contemporary political philosophy. KEY WORDS – Alterity. “State of exception”. Conceptual labyrinth. Forgiveness. (shrink)

I offer a new interpretation of the passages where Aristotle maintains that intellectual activity employs φαντάσµατα (images). In theoretical understanding of mathematical and natural beings, we usually need to consciously employ appropriate φαντάσµατα in order to grasp explanatory connections. Aristotle does not, however, commit himself to thinking that images are required for exercising all theoretical understanding: understanding immaterial things, in particular, may not involve φαντάσµατα. Thus the connection that Aristotle makes between images and understanding does not rule out the possibility (...) that human intellectual activity could occur apart from the body. (shrink)

Aristotle thinks that in order to remember, one must be cognizant of aphantasmaused as a copy of that of which it is a phantasma,and one must be cognizant of the time at which the original experience occurred. In De Memoria1, he uses the first half,, of this schematic account in order to explain certain kinds of mis-rememberings. For instance, he says that mad people sometimes conjure up fantastic images and take them to be memories of past experience; such episodes are (...) mis-remembering, because these people use that which is not a copy as if it were a copy. In De Memoria2, Aristotle returns to the topic of mis-remembering and here he uses the second half,, of his schematic account, together with the first, in order to explain additional sorts of mistakes. He claims that we sometimes recall the image of an event and properly use it as a copy, but we get the time wrong, and thus we fail to remember; further, he claims that we sometimes get the time right, but fail to use an image as a copy of the events which occurred during that time. In each case we fail to remember; for in order to remember we must both use an appropriate copy as a copy and accurately cognize the time. (shrink)

En este artículo se analiza una recreación quijotesca en la novela de Graham Greene Monseñor Quijote. Para ello se utilizan dos términos procedentes del Derecho romano: los conceptos de autoridad y poder. En esta obra de Greene, la autoridad surge de los libros o de autores de libros, cuya lectura permite que la vida siga teniendo sentido. En Greene encontramos la estrategia de lectura conocida como las sortes virgilianae que permite a los personajes orientarse en las dificultades diarias. Sin embargo, (...) el poder está caracterizado por su condición iletrada, la ausencia de libros y su ignorancia. In this article a novel by Graham Greene entitled Monsignor Quixote is analysed, a book that involves a recreation of the novel by Cervantes. The author of this article employs two concepts from Roman law: authority and power in his analysis. In this work by Greene, authority arises from the books or the book writers, whose reading allows life to keep making sense. In Greene, a strategy of reading known as the sortes virgilianae is found and this allows the characters to get their bearings in the daily difficulties. However, power is described as illiterate, the absence of books and ignorance. (shrink)

Desde la visión de Ortega y Gasset y Julián Marías aparece el pensador Árabe Ibn Jaldún como uno de los principales puentes tendidos entre Oriente y Occidente, tanto que es considerado por ambos como el primer filósofo de la historia. Según afirmaciones de Ortega, el pensador árabe es el cimiento que heredaron las generaciones de ambos pensadores españoles.

El presente trabajo aborda la temática de la temporalidad ligada a la producción de relatos de memoria en la antigua Grecia, cuando esta tarea era encomendada a la creación de palabra en boca de los poetas. Mediante un estudio de las odas y de los epinicios de Píndaro -tanto en el contexto de su surgimiento como a través de interpretaciones filosóficas posteriores-, los relatos plausibles de conformar una memoria aparecen ligados a un acto de composición selectivo, donde el (...) poeta decidirá qué acontecimientos serán dignos de Elogio y cuáles, en cambio, de Vituperio. En un contexto que se asume complejo, constituido por fuerzas ambivalentes, las producciones de palabra al servicio de un sostenimiento de la memoria deberán sortear siempre la opacidad de las circunstancias que la confunden, la ironizan, la amenazan de olvido. La palabra, así, en boca de los poetas, tendrá la eficacia capaz de dar cuenta de una economía de lo verdadero que ya va trazando la memoria de las paradojas de su propia historia. This paper addresses the issue of temporality linked to the production of memory narratives in ancient Greece, when this task was entrusted to poets and their creation of words. Through a study of Pindar Odes and Epinicia - both, in the context of its emergence as through further philosophical interpretations- plausible stories to form a memory appear linked to a selective act of composition, where the poet decides what events will be worthy of Praise, and which, instead, of Shame. In a context that is assumed complex, consisting of mixed forces, word productions serving a sustaining memory must always overcome the opacity of the confusing circumstances, the irony, and the threat of oblivion. Words, in the voice of the poets, will become the efficacy marks of some kind of economy of the ruth that is already mapping the paradoxal memory of its own history. (shrink)

Este estudo oferece uma interpretação filosófica dos conceitos de memória e confissão, a partir da obra Coniissões de Agostinho. Estes conceitos são abordados com relação a outros temas importantes do pensamento de Agostinho, como, por exemplo, a teoria da iluminação, a prova noológica da existência de Deus e a concepção de Deus como fundamento da totalidade dos entes.

En este artículo se quiere reflexionar acerca del papel de la tradición, la memoria y la revolución desde la obra de Benjamin y de Arendt. Para ello se aborda para empezar el posicionamiento del primero, en diálogo con Marx y otros revolucionarios del siglo XIX con el fin de ahondar en la importancia de la memoria para el presente y el futuro. Luego se analiza el pensamiento de Arendt para reflexionar sobre la tradición revolucionaria, sobre el uso revolucionario (...) de la tradición clásica durante la Revolución americana y sobre la olvidada república de consejos en la tradición revolucionaria. Ambos pensadores se proponen incorporar las cuestiones de la tradición y de la memoria en el presente, pero de tal modo que no se caiga en actitudes tradicionalistas o fetichistas. (shrink)

This work examines the concept of the "philosophical life" by looking at Socrates and his relationships to his interlocutors.

L’articolo si propone di analizzare, alla luce di un esteso scandaglio documentario e di un accurato spoglio delle testate locali, i rapporti fra Pier Paolo Pasolini e il Cineguf bolognese, negli anni in cui lo scrittore fu studente del Liceo Galvani e poi fra gli iscritti alla Facoltà di Lettere, sotto alla guida di docenti come Carlo Calcaterra e Goffredo Coppola. Questa ricerca ha permesso non solo di approfondire la conoscenza della cultura spettatoriale del giovane Pasolini, ma ha anche consentito (...) di ricondurre all’avvio del 1940 la sua prima prova da scrittore per il cinema, e cioè il soggetto Il giovine della primavera, rimasto inedito fino all’uscita dei Meridiani a cura di Walter Siti e Franco Zabagli nel 2001. Proprio uno sguardo inedito alle attività del Cineguf consente infatti di comprendere quanto la vita del circolo poté pesare sulla passione del poeta per il grande schermo, spingendolo a provarsi nelle vesti di sceneggiatore. (shrink)