O presente artigo aborda numa perspectiva filosófica a relação entre a divisão das artes belas propostas por Kant e Hegel. Objetiva explicitar as aproximações e distanciamentos entre a divisão das belas artes apresentadas pelos filósofos citados, apontando suas semelhanças e diferenças. Fundamenta sua análise nas obras Crítica da Faculdade do Juízo de 1790 e Cursos de Estética de 1820-21, respectivamente elaboradas por Immanuel Kant e Friedrich Hegel. Realiza uma análise comparativa entre a divisão das artes (...) belas kantiana e hegeliana. Apresenta inicialmente a divisão das artes belas na perspectiva kantiana, abordando o conceito de arte bela, sua classificação e sua hierarquia, segundo o filósofo de Königsberg. Em seguida, expõe a divisão das artes segundo Hegel, apresentando o seu conceito de belo artístico, as formas de arte simbólica, clássica e romântica, expondo e analisando também as artes particulares de acordo com o filósofo de Stuttgart. Conclui afirmando que, apesar das diferenças entre ambas análises sobre a divisão das belas artes, tais como a defesa de Hegel em relação belo artístico e a de Kant ao belo natural, a afirmação hegeliana que há uma ciência do belo enquanto a concepção kantiana é de que não há ciência do belo, por exemplo, os filósofos em destaque concordam, entre outros aspectos, que a poesia ocupa o lugar mais alto na hierarquia das belas artes, sendo a mais livre e espiritual delas. (shrink)

Mit Professor Béla Juhos ist der letzte Vertreter des Wiener Kreises an der Universität in Wien dahingegangen. Er hat die Art der Philosophie, die im Wiener Kreis ausgebildet worden ist, im wesentlichen festgehalten und fortgeführt. Er ist aber nicht bei den Auffassungen des Wiener Kreises stehen gebheben, sondern er hat die weitere Entwicklung, welche die Richtung der im Wiener Kreis begründeten Philosophie, vor allem in den Vereinigten Staaten durch Carnap und seine Schüler und den Kreis um Feigl, durch Quine und (...) andere, in England dutch Popper und Lakatos, genommen hat, verfolgt und sich mit ihr auseinandergesetzt. (shrink)

Não há dúvida de que uma intenção moral presidiu ou, no mínimo, acompanhou grande parte da arte do passado. Esquecemos suficientemente de falar da arte, em geral, como um domínio em que as considerações éticas não têm lugar e em relação a qual seria inconveniente falar em moral, isso porque belo e bom são valores não apenas distintos, mas independentes, e dentre esses importa conservar-lhes essa independência. Uma visão sensata do estado histórico da questão supõe, no entanto, que tomemos consciência (...) da historicidade dessa posição separatista, ou seja, que, por um lado, esqueçamos por um instante a autonomia e a autotelia da arte ensinada no século XIX e, por outro lado, que nos lembremos da maneira com que os artistas e os pensadores da arte, anterior à invenção moderna das belas-artes, concebiam a prática artística. Nessa longa história pré-moderna da arte, gostaria de examinar mais precisamente aqui as intenções éticas da teoria humanista da pintura e de submeter a um exame crítico a eficácia dessas intenções.Palavras-chave: Efeitos Éticos da Pintura. Teoria Humanista da Pintura. Efeitos Estéticos e Cognitivos da Arte. Résumé:Qu’une intention morale ait présidé ou au moins accompagné une grande partie de l’artdupassé, c’estcequi ne fait aucundoute. Nous l’avons suffisamment oublié pourparler de l’art, engénéral, comme d’un domaine où les considérations éthiques n’ontpasleurplace et à propos duquel il serait déplacé de parler de morale, aumotif que beau et biensont desvaleurs non seulement distinctes mais indépendantes et dontqu’il importe de leur conservercette indépendance. Une visionsaine de l’état historique de la question suppose pourtant que nous prenions conscience de l’historicité de cette position séparatiste, autrementdit, que d’une part nous ou blions pour un temps l’autonomie et l’autolélie de l’artenseignée par le XIX èmesiècle et d’autrepart, que nous nous rappelions la manière dont artistes et penseurs de l’art d’avant l’invention modernedes beaux-art sont conçula pratique artistique. Dans cette longue histoire prémoderne de l’art, on considérera plus précisément ici les intentions éthiques de la théorie humaniste de lapeinture et l’onsoumettra à unexamen critique lesmoyens de cesintentions.Mots-Clés: ÉffetsÉthiques de laPeinture. ThéorieHumaniste de laPeinture. ÉffetsEsthétiques et Cognitifs de l’art. (shrink)

Words can mean different things to different people. This can be problematic, mainly for those working together in a bureaucratic institution, such as the secret service. Shared, certified, explicit and codified definitions offer a counter to subjective, solitary and/or culturally dominant definitions. It’s true that codified secrecy terms for secret services can be seen to involve a number of political, cultural, subcultural “languages”, but if words come from unclassified or declassified files, memorandums and/or records, one needs a deep understanding of (...) the secret services. A remarkable feature of this bureaucratic language is the evolving nature of, certain “keywords” as important signifiers of historical transformation. Thus, the changes in the language of the secret services depends at least as much on the internal changes of the secret services as on the transformation in the external political-social environment. In spite of the confusion of Hungarian secret services in the revolutions of 1918–1919 and the disintegration of the Austrian-Hungarian Monarchy, in the early 1920’s became a stable system. Between the two World Wars, the Hungarian State Police directed by the Ministry of Internal Affairs, the Military Intelligence and Counter-Espionage directed by the Ministry of Defence, and the Hungarian Royal Gendarmerie directed by both of the Ministries had their own operational service. This structure existed unchanged until 1945. Simultaneously with the forward advance of the soviet troops, government began to re-establish the former system of the secret services in the eastern part of the country. After WWII, in 1946, the “State-protection Department” as political police became independent from the police. However, from the beginning, they remained under the control of the Communist Party. After 1950, the State Security Authority provided special services for the MIA and the Military Political Directorate of the MoD. After quashing the revolution in 1956, in the spring of 1957, the MIA Political Investigation Department was established which—with slight modifications—kept the structure created during the “state protection era”. The MIA III. The State-Protection General Directorate was established in 1962. The reorganization was finalized in the middle of the 1960’s, which resulted in the new system, which—with the structure of Directorates—became the ultimate structure of the state secret police until the abolishment of the MIA General Directorate III in January 1990. These organizational transformations were largely the result of exogenous historical-political changes. Moreover, each new period had a major impact on the organizational communication, language use and vocabulary of the secret services. This study seeks to interpret these historical transformations. (shrink)

This book provides the first in-depth exploration of the importance of music for Ludwig Wittgenstein’s life and work. Wittgenstein’s remarks on music are essential for understanding his philosophy: they are on the nature of musical understanding, the relation of music to language, the concepts of representation and expression, on melody, irony and aspect-perception, and, on the great composers belonging to the Austrian-German tradition. Biography and philosophy, this work suggests that Wittgenstein was a composer of philosophy who used the musical form (...) as a blueprint for his own writing and thought. For Wittgenstein music is not alone, but connects and resonates with our cultural forms of life. His relation to composers, especially to Richard Wagner and Gustav Mahler, enables Wittgenstein to address the question of how to do philosophy and compose music in the breakdown of tradition. Unlike his conservative musical sensibility, Wittgenstein’s philosophy is open to musical experiments. Reflecting on his remarks on music makes it possible to compare the therapeutic aim of his philosophical activity with that of music, and thus notice affinities between Wittgenstein and John Cage. Béla Szabados has a Ph.D. in philosophy from the University of Calgary and is professor of philosophy at the University of Regina. His publications include Wittgenstein Reads Weininger (2004), Wittgenstein at the Movies (2011) and Wittgenstein on Race, Gender, and Cultural Identity: Philosophy as a Personal Endeavour (2010). (shrink)

(1993). Is the improvement of human condition our field? Making Evolutionary science work for human betterment. World Futures: Vol. 38, Theoretical Achievements and Practical Applications of General Evolutionary Theory, pp. 17-31.

What are the differences between hypocrisy, change of mind, and weakness of will? Each typically involves a gap between word and deed, yet they do not seem morally equivalent. Moreover, they are intuitively different concepts, even though the conceptual boundaries between them are fuzzy. This paper explores diverse examples, attempting to identify elements which may be distinctive of each concept, with special attention to hypocrisy. It also provides a discussion of the appropriateness of such use of examples in moral philosophy.

The authors’ aim is to bring to the attention of readers the inadequacies of care for people in Hungary who are terminally ill. They believe that both objective and subjective factors cause these inadequacies. Most of these factors arise from moral dilemmas that could be eased or even solved if ethics education had a much more prominent place in the nursing curriculum. Even if nurses would not become automatically better persons morally, a much wider knowledge of medical/nursing ethics could significantly (...) improve nursing care both before and at the end of life. Although the article is also critical of the nursing care provided, it is not its purpose to make any generalizations. The study utilized selected passages from essays written by 76 practicing nurses on their personal experience of ethical dilemmas in their work environment, and a questionnaire administered to 250 students (registered nurses and health care students) studying for a college degree. This article is written by two authors who have formed an unusal alliance: a registered nurse with 29 years’ experience of bedside nursing, but who is currently a teacher of nursing ethics at a local health college, and a lawyer turned bioethicist. (shrink)

The aim of my paper is to show links and parallels between Locke’s concept of the state of nature and the Unitarian (Socinian) denial of original sin. At first I will give an overview of the Unitarian history and thought, then I will logically and philologically demon- strate a parallelism of Locke’s hidden anthropology and the Unitarian doctrine on human being, with data of Locke’s Unitarian readings, especially writings of a Transylvanian theologian in the late 16th century, György Enyedi.

This article offers a detailed reading Gascoigne and Thornton’s book Tacit Knowledge, which aims to account for the tacitness of tacit knowledge while preserving its status as knowledge proper. I take issue with their characterization and rejection of the existential-phenomenological Background—which they presuppose even as they dismiss—and their claim that TK can be articulated “from within”—which betrays a residual Cartesianism, the result of their elision of conceptuality and propositionality. Knowledgeable acts instantiate capacities which we might know we have and of (...) which we can be aware, but which are not propositionally structured at their “core”. Nevertheless, propositionality is necessary to what Robert Brandom calls, in Making It Explicit and Articulating Reasons, “explicitation”, which notion also presupposes a tacit dimension, which is, simply, the embodied person, without which no conception of knowledge can get any purchase. On my view, there is no knowledgeable act that can be understood as such separately from the notion of skilled corporeal performance. The account I offer cannot make sense of so-called “knowledge-based” education, as opposed to systems and styles which supposedly privilege “contentless” skills over and above “knowledge”, because on the phenomenological and inferentialist lines I endorse, neither the concepts “knowledge” nor “skill” has any purchase or meaning without the other. (shrink)

There are three major themes in the dialogue thought to be Plato’s Statesman: the nature of statesmanship, the difference between perfect and less than perfect regimes and the method of division. In this paper I focus on the first two themes. I argue, first, that the dialogue makes a plausible case for what it takes to be a wise statesman. In doing so, I play down the importance of the second theme: the difference between regimes. In fact, I consider this (...) discussion to be deeply flawed and even irrelevant to the argument of the first. My main purpose is to provide a critical analysis of the political theory articulated in the dialogue. My analysis is made plausible by abandoning the traditional view that the Statesman was written Plato in its entirety as a unified whole. In my view, a close reading of the text supports the hypothesis that it is, at best, semi-authentic; namely, that it is most likely a collage of fragments written at different times by Plato and other members of the Academy. (shrink)

Introduction One of popular science’s primary functions is to make what would otherwise be inaccessible, specialist knowledge accessible to the lay reader. But popular science puts its imagined reader in something of a dilemma, for one does not have to look very far to find bitter argument among science writers; argument that takes place beyond the limits of the scientific community: witness the ill-tempered exchanges between Mary Midgley and Richard Dawkins in the journal Philosophy in the l...

This article questions the belief expressed in various histories of pharmacy that the tenth-century Arab physician Avicenna introduced the tradition of coating pills with gold and silver. Although an examination of his Canon documents Avicenna's interest in the medicinal application of gold and silver, no mention is made of coating pills. Nor do other Islamic physicians seem to have been familiar with this practice, any more than such medieval European authors as Arnaldus of Villanova, Raymund Lull or Johannes de Rupescissa. (...) The same is true of medicinal compendia representative of later periods, such as the Ortus sanitatis, Valerius Cordus' Dispensatorium or the Secrets of Alessio Piemontese. The earliest known mention of coating pills with precious metals occurs in a non-medical book, The Golden Fleece , and the earliest mention in the professional literature seems to appear only in the second half of the seventeenth century. The practice of coating pills with gold and silver was to be practiced in Europe into the first half of the twentieth century. (shrink)