RESUMO: A relação entre arte e filosofia é examinada com base na noção de Stimmung, que surge no século XVIII, na teoria musical, como relação de proporção entre tons ou instrumentos, sendo, em seguida, transposta para a estética, no final do século, com Kant e Fichte. Em Kant, a Stimmung refere-se à disposição das faculdades de conhecimento para um conhecimento em geral, isto é, como o pressuposto da apresentação estética, por meio da qual se preserva a noção de proporção entre (...) as faculdades. Em Sobre o espírito e a letra na filosofia, Fichte assinala que a disposição estética é o modo de atuar do impulso estético, ligado livremente e diretamente à faculdade da imaginação e à atividade de criação. Essa tradição estética é revista pelo historiador Aloïs Riegl, em 1899, no ensaio intitulado Die Stimmung als Inhalt der moderne Kunst, no qual o conceito de Stimmung é pela primeira vez apresentado em chave histórica, enquanto conteúdo da arte moderna, no sentido de atmosfera, isto é, da vivência de uma relação por meio da qual a consciência, em conformidade com a lei imanente, adquire alguma certeza. Revisão semelhante foi realizada pelo jovem filósofo György Lukács, em A alma e as formas, de 1910, na qual o autor pensa as diferenças de sentido entre as noções de Stimmung e de atmosfera. ABSTRACT: The relationship between art and philosophy is examined based on the notion of Stimmung, which appears in eighteenth-century music theory as a proportional relationship between tones or instruments; it was then incorporated into aesthetics at the end of the century in the works of Kant and Fichte. In Kant's works, Stimmung refers to the capacity of the faculties of knowledge for knowledge in general, that is, as a presupposition of aesthetic presentation through which the notion of proportion between the faculties is preserved. In his On the Spirit and the Letter in Philosophy, Fichte points out that the aesthetic disposition is the mode by which the aesthetic impulse acts out, connected freely and directly to the faculty of imagination and to the activity of creation. This aesthetic tradition is revisited by the historian Alois Riegl in 1899 in the essay Die Stimmung als Inhalt der moderne Kunst, where the concept of Stimmung is first presented from historical perspective as content of modern art in the sense of atmosphere, i.e., the experience of a relationship by which awareness, in accordance with immanent law, acquires certainty. A similar review was done by the young philosopher György Lukács in 1910 in Soul and Form, where the author conceptualizes the differences in meaning between the notions of Stimmung and Atmosphäre. (shrink)

O presente artigo investiga como A teoria do romance (1916) de G.Lukács, um texto fragmentado e de ocasião, tornou-se um clássico da reflexão sobre a modernidade. Para Lukács, o romance é a forma artística que corresponde à fratura entre o sujeito e o mundo, vivida pelo homem contemporâneo. Utilizando o conceito de “símbolo esvaziado” este texto apreende em que medida o autor ao rever as classificações anteriores sobre o gênero romance, perpetua a tradição romântica ou rompe com ela, elaborando conceitos (...) originais para a compreensão da modernidade na literatura. (shrink)

O ARTIGO ACOMPANHA A IMPORTÂNCIA E A SIGNIFICAÇÃO DO CONCEITO DE IRONIA ROMÂNTICA NAS OBRAS DE JUVENTUDE DE GYÖRGY LUKÁCS. AO COMPARAR OS CONCEITOS DE IRONIA E DE TRÁGICO, E SUAS FIGURAÇÕES ARTÍSTICAS, LUKÁCS ABORDA ALGUNS DOS PRINCIPAIS PROBLEMAS ESTÉTICOS DO INÍCIO DO SÉCULO XX, COMO O DAS DIFERENÇAS HISTÓRICAS ENTRE OS GÊNEROS LITERÁRIOS E O DAS RELAÇÕES ENTRE FORMA E FILOSOFIA, ARTE E VIDA.

This paper examines undergraduate business students' perception of corporate social responsibility in cases in which they have not attended any specific course either dealing with CSR or providing training in ethics. A survey was conducted of 535 Spanish business students as future managers. The results show that the stakeholders' perspective deserves a huge attention for those students considering what the keys of business success are. Significant differences in perception were nevertheless identified when a multifactorial analysis was undertaken. Female students are (...) more concerned about CSR issues. The maximization of value for shareholders is less valued by second- and third-year students than by first-year ones. The findings point to a number of important orientations for the future development of university curriculum. (shrink)

Studies have suggested that metaphors (Lawyers are sharks) and similes (Lawyers are like sharks) have distinct representations: metaphors engender more figurative and abstract properties, whereas similes engender more literal properties. We investigated to what extent access to such representations occurs automatically, during on-line reading. In particular, we examined whether similes convey a more literal meaning by following the metaphors and similes with explanations that expressed either a figurative (dangerous) or a literal property (fish) of the vehicle. In a self-paced reading (...) with a moving window paradigm, we presented participants with negated simile and metaphor main clauses (Lawyers are not (like) sharks) followed by explanations that also negated either a figurative (because lawyers are not dangerous) or a literal property of the vehicle (because lawyers are not fish). We found that vehicles (sharks) in metaphors were read significantly faster than those in similes. In addition, explanations negating a figurative property were read faster after metaphors, whereas explanations negating a literal property were read faster after similes. These results support the hypothesis that metaphors and similes rely on different interpretive processes, suggesting that similes access literal representations while metaphor access figurative ones in real time. (shrink)

In his Lectures on Fine Art (1835), Hegel emphasizes the grotesque character of Indian art. Grotesqueness results, in his view, from a contradiction between meaning and shape due to the incongruous combination of spiritual and material elements. Since Hegel's history of art is teeming with examples of inadequacy between meaning and shape, this paper aims to distinguish the grotesque from other types of artistic dissonance and to problematize Hegel's ascriptions of grotesqueness to ancient Indian art. In the first part of (...) the paper, I characterize the grotesque by the unnatural distortion of natural shapes with the purpose of achieving a direct sensuous manifestation of an indeterminate and impersonal divinity, Brahman. Such an attempt is, in Hegel's view, self-contradictory and self-defeating, leading to an exaggeration of the conflict between nature and spirit instead of the intended reconciliation between the two parts. In the second part of the paper, I compare Hegel's account of Indian art to the ‘monstrous myths’ of early modern Europe. Unlike his predecessors, Hegel legitimizes the grotesque representations of Hindu gods as endowed with profound meaning and the result of a universal human need, yet he describes them as ultimately irrational and repulsive based on a prejudiced view of the Indian people(s). In this sense, Hegel's assessment of Indian art functions as a reflection of modern European culture, its fascination and horror in the face of what Enlightenment could not entirely purge, rather than as a truthful and objective account of Indian art and culture. By questioning Hegel's characterization of Hindu iconography and mythology, this paper contributes to underexplored areas of Hegelian aesthetics, namely Hegel's account of symbolic art, especially Indian art, as well as his views on negative aesthetic experiences and values. (shrink)

Neste texto procuramos delinear referências às noções de pintura e escultura num diálogo do último momento da filosofia platônica, o Filebo. Trata-se de um estudo relevante quando lembramos que é nele que Platão, pelo personagem Sócrates, afirma a superioridade das formas e cores puras sobre as demais; o que se enquadra no que hoje conceituamos como arte abstrata. Além disso, encontramos o uso das artes plásticas para tratar de outros temas, como o erro e a esperança, esta que devemos desenhar (...) em nossa alma quando somos pessoas boas. Assim, podemos nos aproximar de compreensões originárias desses gêneros artísticos que só vem a ser tidos como tais no despontar da Modernidade. (shrink)

Si la pensée est universelle, nous ne pouvons toutefois pas nier la spécificité des modalités de pensées. Les études réunies dans cet ouvrage apparaissent ainsi comme une occasion d'interroger et de dégager les différentes modalités d'appropriation de la philosophie cartésienne au Brésil.

Experimental studies have suggested that variables such as aptness or conventionality are predictors of people’s preference for expressing a particular topic–vehicle pair as either a metaphor or a simile. In the present study, we investigated if such variables would also be predictive within a more naturalistic context, where other variables, such as the intention to include an explanation, may also influence people’s decision. Specifically, we investigated the production of metaphor and simile expressions on the Internet via the Google search engine (...) and checked for accompanying explanations, as well as the properties they expressed, to examine whether ratings such as aptness, conventionality, as well as participants’ own stated preference or the intention to produce an explanation, would predict which topic–vehicle pairs appeared more often as metaphor. We found that participants’ stated preference predicted metaphor dominance on the Internet, and that apt topic–vehicles occurred more often as metaphors. The explanations collected, however, occurred 82% of the time after similes, and familiar expressions were the most explained. Finally, comparing the properties expressed in these explanations to normed property lists, we found that simile explanations typically expressed a novel conception of the topic–vehicle relationship. Therefore, we found that Internet posters use metaphors to convey an apt relationship, as found in previous laboratory studies, but prefer using a simile frame when they want to express a relationship that readers will find novel. (shrink)

De natureza qualitativo-interpretativista, nosso estudo objetiva relacionar a educação linguística crítico-decolonial, bem como nossas experiências de vida e formação com as praxiologias freirianas. Redigimos narrativas autobiográficas a partir do questionamento: Como se deu seu primeiro encontro com a práxis freiriana? Produzimos, ainda, uma narrativa biográfica de Paulo, em bricolagem, com dados encontrados em cinco de suas obras. Como resultado de nossos esforços, acreditamos que este texto fortaleceu nosso sonho de vivenciar uma educação pública de qualidade, que encoraje mais sujeitos na (...) luta em defesa dos/as oprimidos/as pela raça, gênero e condição social. (shrink)

Successful accounts of analogy in law have two burdens to discharge. First, they must reflect the fact that the conclusion of an argument by analogy is a normative claim about how to decide a certain case. Second, they must not fail to accord relevance to the fact that the source case was authoritatively decided in a certain way. We argue in the first half of this paper that the common view of the structure of analogical arguments in law cannot overcome (...) these hurdles. In the second half we develop an original account that aims to succeed where others failed. (shrink)

In this paper I discuss the version of predicative analysis put forward by Hermann Weyl in Das Kontinuum. I try to establish how much of the underlying motivation for Weyl''s position may be due to his acceptance of a phenomenological philosophical perspective. More specifically, I analyze Weyl''s philosophical ideas in connexion with the work of Husserl, in particular Logische Untersuchungen} and Ideen .I believe that this interpretation of Weyl can clarify the views on mathematical existence and mathematical intuition which are (...) implicit in Das Kontinuum. (shrink)

On the basis of arguments showing that none of the most influential analyses of Moore's paradox yields a successful resolution of the problem, a new analysis of it is offered. It is argued that, in attempting to render verdicts of either inconsistency or self‐contradiction or self‐refutation, those analyses have all failed to satisfactorily explain why a Moore‐paradoxical proposition is such that it cannot be rationally believed. According to the proposed solution put forward here, a Moore‐paradoxical proposition is one for which (...) the believer can have no non‐overridden evidence. the arguments for this claim make use of some of Peter Klein's views on epistemic defeasibility. It is further suggested that this proposal may have important meta‐epistemological implications. (shrink)

On the basis of arguments showing that none of the most influential analyses of Moore's paradox yields a successful resolution of the problem, a new analysis of it is offered. It is argued that, in attempting to render verdicts of either inconsistency or self‐contradiction or self‐refutation, those analyses have all failed to satisfactorily explain why a Moore‐paradoxical proposition is such that it cannot be rationally believed. According to the proposed solution put forward here, a Moore‐paradoxical proposition is one for which (...) the believer can have no non‐overridden evidence. the arguments for this claim make use of some of Peter Klein's views on epistemic defeasibility. It is further suggested that this proposal may have important meta‐epistemological implications. (shrink)