Formal control systems are a common instrument to align employees’ interests with those of managers and companies. However, research shows that employees perceive formal controls as a sign of distrust and restraint, which can lead to costs of control in the form of lower employee cooperation and effort. We propose that charitable giving reduces these costs of control. We draw on the halo effect and propose that corporate charitable giving alters employees’ perception of and reaction to formal controls. In a (...) laboratory experiment, we find that charitable giving by a company creates a higher level of employee trust in a manager who decides to implement a control and a more positive assessment of formal control. These positive effects of charitable giving lead to lower costs of control compared to the absence of charitable giving. We thereby provide an example of how charitable giving as a corporate social responsibility activity yields positive benefits by altering the behavior of internal company stakeholders. (shrink)

Aus dem Inhalt: I. Maclean, Introduction M.J. B. Allen, In principio: Marsilio Ficino on the Life of Text D. Perler, Diskussionen uber mentale Sprache im 16. Jahrhundert E. Kessler, Die verborgene Gegenwart und Funktion des Nominalismus in der Renaissance-Philosophie: das Problem der Universalien A. De Pace, Copernicus against a Rhetorical Approach to the Beauty of the Universe. The Influence of the Phaedo on the De revolutionibus H. Mikkeli, Art and Nature in the Renaissance Commentaries and Textbooks on Aristotle's Physics U. (...) Langer, The Ring of Gyges in Plato, Cicero, and Lorenzo Valla: The Moral Force of Fictional Examples I. Maclean, Legal fictions and fictional entities in Renaissance jurisprudence M.-L. Demonet, Les etres de raison, ou les modes d'etre de la litterature M.L. Bianchi, Signs, Signaturae and Natursprache in Paracelsus and Bohme N. G. Siraisi, Disease and symptom as problematic concepts in Renaissance medicine J. Rohls, Schrift, Wort und Sache in der fruhen protestantischen Theologie C. Lohr, Possibility and Reality in Suarez's Disputationes metaphysicae Weitere Beitrage von: B. Vickers, C. Leijenhorst, M. Friedrich. (shrink)

Este trabalho busca relacionar a imagem do zumbi como Antropocênica. Para isto, é abordado o conceito de Antropoceno, definido como o período atual no qual processos e condições geológicas são impactados por atividades humanas. Também, insere-se a figura do zumbi, uma espécie de morto-vivo que retorna à vida por alguma causa sobrenatural ou científica. Por fim, traz-se o conceito de débito de extinção, que acontece quando um habitat natural é modificado ao ponto de não mais comportar a manutenção da vida (...) das espécies que ali viviam. Interpretar o zumbi como uma figura simbólica antropocênica é possível por ser uma criatura cujas origens se dão no processo colonial e revolucionário do Haiti. O estudo do zumbi é uma ferramenta para o entendimento do imperialismo e do colonialismo, dois dos sintomas do período que é caracterizado pela alteração geológica antropogênica. Os filmes de zumbi contemporâneos representam o Antropoceno, pois, de maneira geral, as causas de contaminação são antropogênicas, além de serem obras que criticam o consumo e o capitalismo estadunidenses. São, ainda, filmes sobre exploração econômica que abordam os norte-americanos se tornando zumbis, consumindo tudo sem pausa, “canibalizando” os produtos. Conclui-se que o Antropoceno é o período dos zumbis: os seres humanos que alteraram e degradaram o próprio habitat, se autocondenando à morte - à zumbificação. Ao mesmo tempo que o zumbi pode ser uma imagem de diagnóstico e de oferecimento de ferramentas, é também uma imagem de reconhecimento. O zumbi cinematográfico, como coletividade e como a negação do individualismo, serve de instrumento para superar o Antropoceno.Palavras–Chave: Antropoceno; Zumbi; Ficção Científica; Colonialismo. (shrink)

Donna Haraway inaugura em “O Manifesto Ciborgue” (1985) uma tradição no estudo do pós-humanismo, desafiando noções relacionadas ao capitalismo, colonialismo, feminismo e ao significado do que é ser humano. Em 2008, Sarah Juliet Lauro & Karen Embry propõem “A Zombie Manifesto” (2008), texto importante para o chamado “zombie studies”, emprestando o espírito e alguns princípios do texto de Haraway. Pretendo estabelecer uma comparação entre os modelos de pós-humanismo estabelecidos por Donna Haraway em “O Manifesto Ciborgue” e Sarah Juliet Lauro & (...) Karen Embry em “A Zombie Manifesto”. Ambos os textos usam da ironia, da análise da realidade social e da ideia de fraturar fronteiras para construir modelos opostos. Enquanto Haraway trata da necessidade de permeabilidade das fronteiras corporais, negociando hibridismos com máquinas, Lauro & Embry defendem que o corpo é a prisão do sujeito e defendem que o pós-humanismo só pode se iniciar na morte do sujeito individual, usando os zumbis haitianos e cinematográficos como metáforas para a coletivização do antissujeito pós-humano. (shrink)

O terror, enquanto gênero, explora a tese psicanalítica de que a fantasia organiza a relação individual com a realidade. Os filmes de terror com zumbis, por sua vez, podem explorar e explicitar teses psicanalíticas fundadas por Sigmund Freud, como nos casos dos conceitos infamiliar e pulsões. Dentre os conteúdos ficcionais de zumbis, certamente uma das séries mais populares e a mais duradoura (2010 - atualmente) é The Walking Dead, baseada na obra de Robert Kirkman. Assim, este artigo propõe como objetivo (...) geral a percepção de como algumas teorias de Freud se relacionam com o audiovisual de zumbis a partir de títulos específicos, isto é, escolhemos a figura do zumbi para estudar tais conceitos da teoria psicanalítica. O infamiliar trata daquilo que é aterrorizante, que promove “angústia e horror” e que remete ao antigo conhecido e íntimo. O infamiliar é tudo aquilo que deveria permanecer afastado dos olhos e do conhecimento, em segredo, ocultado e que se revelou. Para Freud, um conceito imprescindível, fundamental e convencional da Psicanálise é o de pulsão, que atua como uma força constante, atacando do interior do corpo e da qual a fuga é ineficaz. Freud sugere, inicialmente, a diferenciação entre dois grupos de pulsões primordiais: as pulsões do Eu e as pulsões sexuais. Freud caracteriza a pulsão sexual como um conceito fronteiriço entre o somático e o psíquico. Também esclarece que uma pulsão de morte é “uma pressão inerente ao orgânico animado para restabelecer um estado anterior”, abandonada pela influência de forças externas. Dois episódios da série televisiva The Walking Dead serão analisados de acordo com os conceitos freudianos estudados: o primeiro episódio da primeira temporada, intitulado Days Gone Bye, e o último episódio também da primeira temporada, intitulado TS-19, ambos televisionados no ano de 2010. (shrink)

Seven unknown letters from 1823 to 1831 are published. The famous discoverer of the mammal's egg and founder of the modern embryology Karl Ernst von Baer (1792–1876), born as a German in Estonia and then anatomist and zoologist at Königsberg University, wrote them to his publisher Ludwig F. Froriep in Weimar and his son and successor. Robert F. Baer offered his co-work with a dictionary of natural history (which he criticized), he proposed a map of all research voyages everywhere in (...) the world, and he sent a few small papers about local birds. To Robert F. Baer gave some recommendations concerning his career; he asked for details of a death elephant, and he told that they were awaiting the cholera. (shrink)

RESUMO Na segunda metade da década de 1930, Theodor W. Adorno e Alfred Sohn-Rethel estabeleceram um rico intercâmbio teórico, no qual uma enorme convergência inicial evolui para um gradual afastamento. Apesar de não reconhecer de pronto a procedência dos argumentos de Sohn-Rethel contra a formulação de seu procedimento de crítica imanente, Adorno os incorpora anos mais tarde. Além disso, a descoberta dessa revisão subterrânea ajuda a explicitar o sentido da transcendência da crítica imanente adorniana e sua relação com a crítica (...) da economia política marxiana. ABSTRACT In the second half of the 1930s, Theodor W. Adorno and Alfred Sohn-Rethel established a rich theoretical exchange, in which a huge initial convergence evolved into a gradual alienation. Despite not immediately acknowledging the validity of Sohn-Rethel’s arguments against the formulation of his procedure of immanent critique, Adorno incorporates such arguments years later. Moreover, the discovery of this subterranean review helps clarifying the meaning of transcendence of the Adornian immanent critique and its relation with the Marxian critique political economy. (shrink)

Alfred Sohn-Rethel's Intellectual and Manual Labour is one of the major texts of post-war Marxist theory. A tremendous influence on the major writers of the Frankfurt School, with ongoing relevance to current debates about value, abstraction, and domination, Sohn-Rethel's ideas are here presented at their fullest scope and with their greatest theoretical clarity. Out of print for many years, this new Historical Materialism edition contains a new introduction by Chris O'Kane, an afterword by Chris Arthur, and a complete compilation of (...) the responses to Intellectual and Manual Labour published in the Italian journal Lotta Continua, including a substantial article by Antonio Negri. (shrink)

L'inscription d'Aberkios, évêque de Hiérapolis en Phrygie dans la seconde moitié du 2e siècle, nous est parvenue par la tradition manuscrite et épigraphique : l'article décrit d'abord l'histoire de la transmission de cette épitaphe extraordinaire, epigramma dignitate et pretio inter Christianan facile princeps d'après G.B. de Rossi. Puis, il donne des explications de détail en confrontant deux traductions allemandes assez différentes, celle de W. Wischmeyer (1980) et celle de R. Merkelbach (1997). Enfin, l'article tente de donner des pistes pour contextualiser (...) ce document dans le monde du Haut-Empire, où les autorités romaines ont accepté la visibilité du culte chrétien et des monuments funéraires des évêques, malgré la situation juridique peu favorable aux Chrétiens. (shrink)

To the extent that contemporary literature can irritate common understandings of literature and the present, it can also function as a stimulus and corrective for literary studies that do not always already presuppose to know what literature is. This has recently become visible in confrontations with social media, in which literary and time-diagnostic modes of writing come together in different ways in experiments with digital tools, as in the context of more conventional forms of literature and corresponding theoretical discourses, to (...) produce what can be called »representing the present«. (shrink)

Das Verhältnis zwischen Kirche und säkularer Kultur steht einmal mehr in Frage. Gehören die Kunstwerke der christlichen Tradition als lebendige Quelle noch in unsere Gegenwart, oder nicht vielmehr einer Vergangenheit an, die höchstens noch von musealem Interesse ist? Ist eine intellektuelle Durchdringung des Glaubens, eine christliche, katholische/protestantische Intellektualität sinnvoll, notwendig, überhaupt möglich?

Musik ist eine Kunst des Maßes. Tonhöhe, Tondauer, Takt und Metrum, ferner Tempo und Lautstärke sind die messbaren musikalischen Parameter, die über- oder unterschritten werden können. Die Kategorie des Überflusses generiert in der Musik daher eine Reihe von Oppositionen wie: zu hoch/zu tief (Tonhöhe), zu laut/zu leise (Dynamik) usw. Ein dynamisches Ungleichgewicht entsteht, das zu Zwecken des musikalischen Ausdrucks nutzbar gemacht werden kann. Das Streben nach dynamischer Steigerung durch Überfluss ist ein typisches Merkmal romantischer Musik. Systemtheoretisch betrachtet bilden Produktion und (...) Rezeption von Musik homöostatische Systeme aus, die durch Überfluss und/oder Mangel (Beschränkung) geregelt werden. „Zu viel! Zu viel! O, daß ich nun erwachte!“ Richard Wagner, Tannhäuser, 1. Akt, 2. Szene. Der Ausruf des Minnesängers Tannhäuser aus Richard Wagners gleichnamiger Oper könnte als ein Motto für Überfluss und Überdruss in der Musik des 19. und 20. Jahrhunderts bis hin zu unserer Gegenwart gelten. Zwar ist Überfluss keine musikalische Kategorie, aber die Phänomene des „Zu viel!“ oder des „Zu wenig!“ lassen sich bei ihr sehr wohl beobachten. (shrink)

Jens Bonnemann, Filmtheorie. Eine Einführung, Berlin: J. B. Metzler 2019.

Menschen, die ihren Zeitgenossen anders erscheinen, müssen deshalb nicht auch anders sein. Ebenso wenig wie Menschen, die in der frühen Neuzeit für besessen, Narren, Hexen oder Wechselbälger gehalten wurden, das tatsächlich waren, kann davon ausgegangen werden, dass Menschen, die uns heute als Behinderte oder psychisch Kranke erscheinen, dies in ontologischem Sinne sind. Der Hexenmythos ist weitgehend entzaubert, die thomistische Dämonologie als Leitparadigma durch den kartesianischen Mechanismus abgelöst worden. Doch auch unser heutiges Verständnis von Behinderung und psychischer Krankheit ist sozial konstruiert.

This piece of work intends to shed light on Alexander of Aphrodisias from the second-century Aristotle commentator through the history of Aristotelian psychology up to the sixteenth century's clandestine prompter of the new philosophy of nature. In the millennium after his death the head of the Peripatetic school in Athens served as the authority on Aristotle in the Neo-Platonic school, survived the Arabic centuries of philosophy as Averroes' exemplary exponent of the mortality of the soul and as such was not (...) considered worthy of translation by the Latin Scholastics. This attitude changed only in the Late Middle Ages, when the resistance against Averroes grew fierce and Alexander emerged as the only Aristotelian alternative to him. In 1495 his account of Aristotle's psychology was translated and published and the underlying principles of a natural philosophy, based on sense perception and exempt from metaphysics, became accessible. The prompt reception and widespread endorsement of Alexander's teaching testify to his impact throughout the sixteenth century. (shrink)

This piece of work intends to shed light on Alexander of Aphrodisias from the second-century Aristotle commentator through the history of Aristotelian psychology up to the sixteenth century's clandestine prompter of the new philosophy of nature. In the millennium after his death the head of the Peripatetic school in Athens served as the authority on Aristotle in the Neo-Platonic school, survived the Arabic centuries of philosophy as Averroes' exemplary exponent of the mortality of the soul and as such was not (...) considered worthy of translation by the Latin Scholastics. This attitude changed only in the Late Middle Ages, when the resistance against Averroes grew fierce and Alexander emerged as the only Aristotelian alternative to him. In 1495 his account of Aristotle's psychology was translated and published and the underlying principles of a natural philosophy, based on sense perception and exempt from metaphysics, became accessible. The prompt reception and widespread endorsement of Alexander's teaching testify to his impact throughout the sixteenth century. (shrink)

In this paper, I will examine how films recreate memories of resistance and define, both visually and in film narration, the difference between imperial aggressors and local protagonists of resistance. The examples are taken from the Brazilian film Quilombo that describes the resistance of the 17th and 18th century Maroon communities against the onslaught of the Portuguese colonial powers (political and military). Med Hondo’s (Mauretania) Sarraounia deals with the resistance in West Africa against the Jihad of the Sokoto Fulani and (...) the (in)famous French “exploratory” expedition under the command of Voulet. Both films are based on “real” histories as they were generally communicated from the colonialist perspective. And both films present themselves as counter-discursive revisions of history. The analysis in this paper focuses on the visual representation of the resistance heroes, first isolating them from the continuity of film narration in a type of still image, thus emphasizing the contrastive imagology between aggression and resistance. In the second step, aggressors and resistors are examined in terms of how they relate socially to their fellow combatants and to their communities. The obvious difference is that the aggressors have no immediate community to relate to socially or emotionally. Particular emphasis is put on the associative and symbolic meanings of the scenic setting, in which the antagonistic characters are placed. (shrink)