Este artículo pretende presentar una radiografía del populismo reaccionario en el poder, describiendo cómo diversos elementos ideológicos de la cultura política brasileña e internacional han sido reunidos por el movimiento político de extrema derecha liderado por Jair Bolsonaro. Los autores se retrotraen a la discusión politológica sobre el populismo de extrema derecha y concluyen por un análisis del bolsonarismo como “lulismo al revés” [às avessas].

O pensamento político-constitucional do Marquês de Caravelas -- Extratos de discursos parlamentares do Marquês de Caravelas.

This article attempts to present an X-ray of reactionary populism in power by describing how several ideological elements of Brazilian and international political culture that have gathered by the far rightwing movement led by Jair Bolsonaro. The authors hark back to the politological debate on right-wing populism and conclude with an analysis of bolsonarismo as “lulismo in reverse” [às avessas].

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Fabuler la fin du monde: La puissance critique des fictions d’apocalypse by Jean-Paul EngélibertCyril CamusJean-Paul Engélibert. Fabuler la fin du monde: La puissance critique des fictions d’apocalypse [Fabulating the end of the world: The critical power of apocalypse fiction]. Paris: Éditions La Découverte, 2019. 239 pp. Print. 20€. ISBN 978-2-348-03719-1.Jean-Paul Engélibert is a well-established expert on apocalyptic and postapocalyptic fiction. His exploration of the genre thus far includes (...) the monograph Apocalypses sans royaume: Politique des fictions de la fin du monde, XX–XXIe siècles (2013), numerous articles, as well as the essay collection L’Apocalypse: Une imagination politique, XIXe–XXIe siècles (2018), which he co-edited. In his latest book, Fabuler la fin du monde, he returns to several texts and aspects of the genre previously covered, delving deeper into what he calls “fictions of the end of the world.” In the ten chapters, gathered in five parts, he approaches his subject as a seasoned scholar in the field of comparative literature, and his analysis draws from comparisons between modern fiction’s representation of apocalypse and biblical literature’s visions of apocalypse and messianism. The book also offers ecocritical insights into the specter of Anthropocenic manifestations in fiction, with reflections on the interrelated genres of utopia and dystopia, theories of cinema, and philosophical writings on the catastrophic history of the twentieth and twenty-first centuries.The range of fictional works discussed is wide, including Jean-Baptiste Cousin de Grainville’s Le dernier homme (1805); Mary Shelley’s Frankenstein (1818); Émile Souvestre’s Le monde tel qu’il sera (1846); Didier de Chousy’s Ignis (1883); Robert Merle’s Malevil (1972); José Saramago’s Blindness (1995); Antoine Volodine’s Minor Angels (1999); Don DeLillo’s Cosmopolis (2003); Cormac McCarthy’s The Road (2006); Céline Minard’s Le dernier monde (2007); Davide [End Page 163] Longo’s The Last Man Standing (2010); and Margaret Atwood’s MaddAddam trilogy (Oryx and Crake [2003], The Year of the Flood [2009], and MaddAddam [2013]). Engélibert also touches on feature-length movies such as Stanley Kramer’s On the Beach (1959), Lars von Trier’s Melancholia (2011), Abel Ferrara’s 4:44 Last Day on Earth (2012), and Mamoru Oshii’s Ghost in the Shell (1995), as well as on other literary and audiovisual fictions, such as E. M. Forster’s short story “The Machine Stops” (1909), Edward Bond’s dramatic trilogy The War Plays (1985), and the first season (2014) of Damon Lindelof and Tom Perrotta’s TV series The Leftovers (2014–17).Engélibert’s exegeses of the genre build around two aspects of the evolving relationship of apocalyptic narratives to the context of their production. Apocalypse (in the sense of “the end of the world” rather than the etymological sense of “revelation”) is no longer primarily a religious myth: the creation and use of the atomic bomb during the Second World War, the theorization of the Anthropocene, and the mainstreaming of concerns over climate change have made the term “apocalypse” a very real, tangible prospect for the future. Engélibert relies on Günther Anders’s Die atomare Drohung (1981) to highlight the importance of the A-bomb in bringing home the reality of potential annihilation to people’s collective consciousness. Yet his second contextual/historical point is that the Anthropocene (albeit unnamed at the time) actually started with the Industrial Revolution, and that thinkers and polemicists such as Charles Fourier or Eugène Huzar, as well as contemporary fiction writers, were already acknowledging the environmental impact of humans and their economic/industrial/technological activity as threats to human and nonhuman life, and to the health of the planetary system itself.1Citing the work of Jean-Baptiste Fressoz and Christophe Bonneuil on the history of climate science, Engélibert analyzes in detail several nineteenth-century novels (namely Le Dernier homme, Frankenstein, Le monde tel qu’il sera, and Ignis) and one early-twentieth-century story (Forster’s “The Machine Stops”) that denounce the harm that the idol of the time, Progress, was already wreaking on nature and human life... (shrink)

Riverside Park is an illustrated tribute to Frederick Law Olmsted's "other" New York City sanctuary. Since its conception in the 1870s, the park has undergone a number of transformations and suffered from periods of misuse and neglect, but in 1984, much-needed renovations turned this city oasis into what is today one of Manhattan's most beautiful attractions. "If the West Side does not stir you, you are a clod, past redemption."-Robert Moses Millions visit the Upper West Side landmark annually, and despite (...) the heavy use, thousands of volunteers keep the grounds pristine. The park is now being extended southward as part of Manhattan's plan to reclaim the island's six hundred miles of waterfront, and Riverside Drive-Olmsted's curving thoroughfare flanking the park-has long been one of Manhattan's premier addresses. "I often feel drawn to the Hudson River.... I never get tired of looking at it; it hypnotizes me."-Joseph Mitchell, from The Rivermen From the time it was carved out of an unpromising landscape, Riverside Park has continued to reinvent itself. Using photographs, illustrations, poems, and original and excerpted narrative, Edward Grimm and E. Peter Schroeder tell the intriguing story of a symbol of the modern revitalization of New York City. "Riverside Park will be a genuine riverside reservation, dedicated forever to the use of the people, beautiful in the highest sense."-The New York World, April 24, 1892 *Includes the official Riverside Park Fund Map of 2007*. (shrink)

The Nature of God explores a perennial problem in the philosophy of religion.

Timelines is an inquiry into the nature of time, both as an apparent feature of the external physical world and as a fundamental feature of our experience of ourselves in the world. The principal argument of Timelines is that our coventional ideas about time are largely mistaken and that what we think of as independent physical time is actually our calibration of a certain relation between events. Namely, the relation between time-keeping events and the causal sequential differences of physical processes (...) which are real and independent of us. (shrink)

This text expounds and relates the ethical and religious views of a philosopher that are usually discussed in terms of language. (Philosophy).

The Ibadis, a religious minority that survived in North Africa and Oman, claim to be the democrats of Islam. The present study highlights their key role in promoting a political alternative to the Caliphate through a collegial model of government. I.

(2003). Intellectuals for our times. Critical Review of International Social and Political Philosophy: Vol. 6, The Public Role of Intellectuals, pp. 33-50. doi: 10.1080/1369823042000241258.

Chez Eisenstein on découvre comment dans le cinéma de prise de vues réelles, il est déjà possible de détourner un élément du représenté pour en faire le moyen d’une représentation qui le dépasse au point de lui être étranger, dans la mesure où il sert un propos tout autre que celui de son contexte d’origine. Dans le stop motion la mise en mouvement fondée sur un type de « montage » image par image permet non seulement de réanimer le monde, (...) mais aussi de transfigurer les objets et leur matérialité même. L’adhésion au contenu profilmique ne concerne donc plus uniquement les contenus généraux et narratifs de la représentation (comme le lieu ou la temporalité), mais aussi la matérialité même des objets. (shrink)

The essays contained in Beyond the Juxtaposition of Nature and Culture represent an attempt by scholars from Canada, Germany, and Mexico to come to grips with the innovative work of the American philosopher and anthropologist Lawrence Krader who has proposed nothing less than a new theory of nature, according to which there are at least three different orders--the material-biotic, the quantum, and the human--which differ from one another according to their different configurations of space-time, and which cannot be reduced the (...) one to the others. Each author takes up Krader's theory in relation to its impact on their own discipline: sociology, anthropology, the study of myth, the theory of labor and value, economics, linguistics, and aesthetics. The question of how nature and culture can be integrated within a theoretical framework which links them in difference and nexus and allows each their non-reductive space leads each of the contributors to move in their thinking beyond the old dualisms of materialism and idealism, fact and value, nature and culture. (shrink)

There have been and continue to be disagreements about how to consider the traditional square of opposition and the traditional inferences of obversion, conversion, contraposition and inversion from the perspective of contemporary quantificational logic. Philosophers have made many different attempts to save traditional inferences that are invalid when they involve empty classes. I survey some of these attempts and argue that the only satisfactory way of saving all the traditional inferences is to make the existential assumption that both the subject (...) and predicate classes and their complement classes are non-empty for all the propositions we admit. I briefly indicate the room for continued controversy over how properly to interpret Aristotle?s statements regarding these inferences, but find some plausibility in the views of Manley Thompson and A.N.Prior that Aristotle had in mind a particular arrangement of existential import unfamiliar to most contemporary logicians. (shrink)

In 1938 Wittgenstein delivered a short course of lectures on aesthetics to a small group of students at Cambridge. The present volume has been compiled from notes taken down at the time by three of the students: Rush Rhees, Yorick Smythies, and James Taylor. They have been supplemented by notes of conversations on Freud between Wittgenstein and Rush Rhees, and by notes of some lectures on religious belief. As very little is known of Wittgenstein's views on these subjects from his (...) published works, these notes should be of considerable interest to students of contemporary philosophy. Further, their fresh and informal style should recommend Wittgenstein to those who find his _Tractatus_ and _Philosophical Investigations_ a little formidable. (shrink)