This book examines the human ability to participate in moments of joint feeling. It presents an answer to the question concerning the nature of our faculty to share in what might be called episodes of collective affective intentionality. The proposal develops the claim that our capacity to participate in such episodes is grounded in an ability central to our human condition: our capacity to care with one another about certain things. The author provides a phenomenologically adequate account of collective affective (...) intentionality that takes seriously the idea that feelings are at the core of our emotional relation to the world. He details a form of group emotional orientation that relies on the fact that the participating individuals have come to share a number of concerns. Readers will learn that at the heart of a collective affective intentional episode, one does not merely find a set of shared concerns, but also a particular mode of caring. In the end, the argument presented in this monograph makes plausible the idea that the emotions through which humans participate in moments of affective intentional community express our nature. In addition, it shows that the debate on collective affective intentionality also permits us to better understand the relationship between two conflicting philosophical pictures of ourselves: the idea that we are essentially social beings and the claim that we are creatures for whom our personal existence is an issue. Thus, aiming at an elucidation of the nature of our ability to feel together, the book offers a detailed account of what it is to situationally express our human nature by caring about something in a properly joint manner. (shrink)

¿Qué es un proyecto? - Tipos y modalidades de proyectos - Guía para la presentación y elaboración de proyectos - Esquema para la elaboración de un proyecto - Etapas anteriores a la elaboración del proyecto - Evaluación del proyecto - Actividades, proyectos, programas y planes - Proyectos comunitarios - El método de proyectos en la educación - Proyecto para crear una biblioteca infantil comunitaria y un centro cultural para un barrio de la ciudad de Bogotá.

I. [without distinctive title] -- II. Los siglos de rock -- III. Después de las culturas del rock.

Cuando G. K. Chesterton en su corto ensayo Aproximación al tomismo quiere resumir los descarríos o los logros de los sabios sobre la realidad, muestra las tres controversias generales del pensamiento: (1) la disolución de las cosas en las soluciones químicas del escepticismo, que es la controversia entre el flujo o la transición informe; (2) la difícil clasificación de las unidades ideales, que es la controversia entre realismo y nominalismo; y (3) el reconocimiento, también arduo, de la variedad cuando a (...) la vez se admite la unidad, que es el viejo acertijo metafísico de la unidad y lo múltiple. Este libro se concentra en la segunda controversia, sin el olvido de los otros dos problemas, en la persona de Guillermo de Ockham, el lógico sagaz que vivió entre los siglos XIII y XIV d.C. Las relaciones de la Literatura con la Filosofía o con la ciencia no se acaban en la especulación poética o estética de motivos filosóficos, mucho más que esto, se extienden a la práctica o ejercicio de los conceptos filosóficos. Erguido en este principio, he rescatado a la figura de Guillermo de Ockham, así como al debate por la realidad o no de las Ideas, en composiciones literarias de Carlos Fuentes, Jorge Luis Borges, Umberto Eco, el ya mencionado G. K. Chesterton, y más. (shrink)

The point of departure for this article is that the current white backlash over the use of the framing device “Black Lives Matter” is a correlate of the diminished capacity to make race-based claims fostered by neoliberal conceptions of race. The article attends to how President Obama, paradoxically, has deepened color-blind forms of racism and thus weakened the ability for grass-roots Black challenges to the discursive and political status quo. His implicit conception of whiteness as invisible, singular and of transcendent (...) power, is discussed as a theo-politics and assessed via two examples: the rhetoric he uses with Black audiences, and his foreign policy choices in Africa. This article hopes both to show that Obama's management of the complex conditions he inherited have not been fruitful for African Americans, the group that offered such unmitigated supported for his campaigns; and to inspire momentum against neoliberal ways of thinking about race and its concomitant color-blind whiteness. (shrink)

In his Perception and Reason, Bill Brewer argues that one can only have empirical beliefs if one’s perceptual experiences serve as reasons for such beliefs. His argument for this idea relies on a premise according to which in order for the relations with perceptual experience to determine the contents of empirical beliefs, these relations must be reason-giving. He offers an argument for this premise, the so-called Switching Argument. In this paper, I show that the Switching Argument does not work, in (...) which case we have no reason to accept the premise the argument is supposed to establish, and hence no reason to accept Brewer’s argument in favour of the idea that one can only have empirical beliefs if one’s perceptual experiences serve as reasons for such beliefs. (shrink)

The recent publication of André Bazin's Écrits complets, an enormous two-volume edition of 3000 pages which increases ten-fold Bazin's available corpus, provides opportunities for renewed reflection on, and possibly for substantial revisions of, this key figure in film theory. On the basis of several essays, I propose a drastic rereading of Bazin's most explicitly philosophical notion of “ontology.” This all too familiar notion, long settled into a rather dust-laden couple nonetheless retains its fascination. Rather than attempting to provide a systematic (...) reworking of this couple along well established lines, particularly those defined by realism and indexicality, this article proposes to shift the notion of ontology in Bazin from its determination as actual existence toward a more radical concept of ontology based on the notion of mimesis, particularly as articulated, in a Heideggerian mode, by Philippe Lacoue-Labarthe. This more properly ontological concept, also paradoxically and radically improper, is shown to be at work already in Bazin's texts, and it allows us to see that far from simplistically naturalizing photographic technology, Bazin does the contrary: he technicizes nature. If Bazin says that the photograph is a flower or a snowflake, he also implies that, like photographs, these are likewise a kind of technical artifact, an auto-mimetic reproduction of nature. Bazin likewise refers to film as a kind of skin falling away from the body of History, an accumulating pellicule in which nature and history disturbingly merge. This shifted perspective on Bazin's thinking is extended further in reference to Georges Didi-Huberman on the highly mimetic creatures known as phasmids, insects that mimic their environement. I extend this into the dynamic notion of eternal return, an implicit dimension of Bazin's thinking, clarified here in reference to Giorgio Agamben and the “immemorial image” which, like Bazin's “Death Every Afternoon,” presents an eminently repeatable deathly image, an animated corpse-world that can be likened to hell. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Spirit and Politics: Some Thoughts on Margaret Watkins’s The Philosophical Progress of Hume’s “Essays”Andre C. Willis (bio)Margaret Watkins’s elegant text, The Philosophical Progress of Hume’s Essays (2019),1 is marked by a Humean approach: it fosters philosophical consideration of both the faculties of the mind and the affective features of experience in ways that bear on practical, moral issues. Ever-attentive to the meaning of Hume’s various nuances and strategic ambiguities, (...) Watkins’s even-handed approach guides us into a broad swath of Hume’s ideas and marches us through a trajectory of secondary interlocutors. It also establishes Watkins as an integral part of Hume’s lineage, in the sense that she understands that thoughtful writing itself is an intellectual virtue. Her “unusual sensitivity, not to life’s daily vicissitudes but to beauties and deformities” (193)2 richly textures her overall argument that positions Hume’s Essays as a filter for his vision of “true philosophy:” that reflective turn towards nature and common life that openly challenges abstruse reasoning, fluently embraces historicism and perspectivalism, and deftly foregrounds the usefulness of ideas over their logical certainty.As much as Watkins reveals Hume’s vision for philosophy, she also extends it; for, among other things, her consideration of Hume’s unique endeavor in philosophical literature (ultimately collected under the title Essays, Moral, Political and Literary [1758]), makes an important twofold contribution to Hume studies. It brings greater attention to Hume’s notion of “public spirit,” a distinct mode of human excellence that combines “benevolence” with “greatness of mind.” And, it aestheticizes some practical dimensions of human life (noted in chapter titles, for example, “Working,” [End Page 143] “Thinking,” “Loving”) without losing track of their socio-political valences. I shall return to these two main points below. As an introductory gesture, I want to note that Watkins’s writing both nicely elaborates Hume’s philosophical vision and thoughtfully broadens his literary insights. It does “the job of putting the audience into a responsive relation with the work of art,” what literary critic R. P. Blackmur identified as “the job of intermediary.”3Generally speaking, Watkins’s mediation filters salient themes and terms from Hume’s corpus through a particularly close reading of the Essays. Cast through her richly stylized analysis, Hume’s foundational ideas of “sympathy,” “convention,” “impressions,” “association,” “imagination,” “artifice,” the “passions” (and more) find fresh interpretive air. An example of this in her first chapter tracks Hume’s use of both “artifice” and “convention” from the Treatise through the second Enquiry to the Essays. For Watkins, a through-line for Hume is that “governing” can be thought of as repeated actions that bridge institutional policy to individual character. To think about governing in this way is to open ourselves to new ways of conceiving potential overlaps between nature and artifice (say, in the instance of a moral virtue like courage [50]). To link categories in the Essays back to their antecedent texts along the lines that Watkins does is to situate them in the context of Hume’s larger thought-project and, indirectly, confirm connections between the individual essays. These conjoinings, for Watkins, suggest Hume’s Essays can be treated together, without either blending their disparate themes or diluting their individual subject matter.4This point stands in opposition to Hume’s own semi-admonishment (1741) that “The Reader must not look for any connexion among these Essays but must consider each of them as a Work apart.”5 Watkins’s response—indicative of the graciousness of her overall tone—is to warmly acknowledge Hume’s reproach and affirm the distinctiveness of each of the essays. She proclaims: “The Essays are not unified” (5). Her thinking about them separately, however, reveals a common practical thread in their form. Watkins characterizes this form as serving “to promote public benefit” (4). I think about this form as being philosophical in the way that Richard Rorty conceives of philosophy as cultural criticism. Watkins, however, wants to emphasize the public character of Hume’s philosophy. She writes: “Hume seeks to benefit the public in two ways. First, he tries to allay irrational attitudes that produce imprudent personal and... (shrink)

The article deals with André Malraux’s comparative theory of art. He, a French intellectual, novelist, and philosopher developed an original philosophical approach to art works and their transformations in time which has still a significant impact to contemporary comparative studies of art. The idea of metamorphosis expresses Malraux’s radical turn from classical academic aesthetics and his closeness to existential philosophical and aesthetical thinking. It reinforces the concept of the imaginary museum and provides a more philosophical background. Each culture perceives and (...) accepts the art of other cultures according to its own viewpoints in a process which is defined by Malraux as metamorphosis. The full significance of metamorphosis appeared in modern civilisation—the first which collected art forms from any period and place. The work of art lives its own life deliberated from history and its consequential postulation of human permanence. The metamorphosis is the key to Malraux’s humanist metaphysics of art. (shrink)

An argument for why Plato’s Laws can be considered his most important political dialogue In Plato's Second Republic, André Laks argues that the Laws, Plato’s last and longest dialogue, is also his most important political work, surpassing the Republic in historical relevance. Laks offers a thorough reappraisal of this less renowned text, and examines how it provides a critical foundation for the principles of lawmaking. In doing so, he makes clear the tremendous impact the Laws had not only on political (...) philosophy, but also on modern political history. Laks shows how the four central ideas in the Laws—the corruptibility of unchecked power, the rule of law, a “middle” constitution, and the political necessity of legislative preambles—are articulated within an intricate and masterful literary architecture. He reveals how the work develops a theological conception of law anchored in political ideas about a god, divine reason, that is the measure of political order. Laks’s reading opens a complex analysis of the relationships between rulers and citizens; their roles in a political system; the power of reason and persuasion, as opposed to force, in commanding obedience; and the place of freedom. Plato's Second Republic presents a sophisticated reevaluation of a philosophical work that has exerted an enormous if often hidden influence even into the present day. (shrink)

ArgumentLudwik Antoni Birkenmajer, following along the paths pioneered by Leopold Prowe, Maximilian Curtze, Franz Hipler, and J. L. E. Dreyer, joined them as trailblazers of Copernican scholarship in the nineteenth century. Educated in the classics and mathematics, Birkenmajer began by examining more closely the Cracow background to Copernicus's development and studying his works and annotations in books he owned or read. Birkenmajer contributed many discoveries that eventually became common knowledge, and his studies loomed over Polish research on Copernicus into the (...) 1970s. Focusing on historical context and his original insights, the essay reminds readers of his contributions, relates them to discussions of Copernicus's precursors, to the debate about Maragha precedents, his reading of theUppsala Notebook, and his account of the origin of Copernicus's heliocentrism. By means of a more critical assessment of his interpretation, the essay revises earlier accounts, rescuing the original insights that mark Birkenmajer's most important contributions to current debates and his efforts to reconstruct Copernicus's path to heliocentrism. (shrink)

Many hold that Hume was an atheist, that he despised the church, and that he was a devastating critic of religion. One cannot deny, however, the references to ‘true religion’ in his work, his sometimes seemingly favorable references to Deity, his call for religion in ‘every civilized community’, and his sense of ‘natural belief’. The following essay describes a speculative Humean ‘true religion’ and discusses its potential use-value for contemporary philosophy of religion. It begins, anecdotally, with a description of Hume's (...) happiness in France, which I attribute to the fact that Hume was not taken to be an atheist by the French reading public. The main argument is that while Hume was critical of ‘vulgar’ and ‘popular’ religion, his philosophical position did not deny our habit to accept a genuine theism that could, if informed by the calm passions, serve to ‘purify our hearts’ and bond us more closely together. Reconceiving Hume's ‘true religion’ in this way allows his insi.. (shrink)

Heinrich Himmler is mostly seen as the all-powerful organizer who coordinated the police apparatus that reigned over occupied Europe and who supervised personally the concentration camp system. But Himmler was also a thinker or, at least, he perceived himself as such, and he was especially concerned with moral issues. This article examines the role of ethics in Himmler's thinking. More specifically, it considers what sort of ethics it was and how the Reichsführer SS could rely on moral notions to legitimize (...) his endeavors and to make sense of extreme events in which he participated. From a normative viewpoint any claim to philosophical validity for this type of approach may be called into question, for the nihilism and denial of otherness were paramount in the instrumentalization of humans that led to genocide. (shrink)

As a Franciscan friar, student, teacher, philosopher, theologian, and political theorist, William of Ockham was and remains one of the most stimulating thinkers of the Middle Ages. The one consistent characteristic of his professional output—both as a student and later as an opponent of papal authoritarianism—was the provocative nature of his ideas. In required commentaries on standard theological texts as well as in his later, more independently inspired treatises, Ockham demonstrated a genuine talent for suggesting and sustaining a number of (...) original, unorthodox and, occasionally, even outrageous ideas. Accordingly, Ockham holds the distinction of being the most rejected but influential philosopher-theologian of the fourteenth century, an observation that applies to his views on causality in which, for example, Ockham held the principle of action at a distance in order to save the causal account of some phenomena. One of the more interesting distinctions that he made, however, occurs in his treatment of sacramental theology as part of his account of God's causal activity with respect to the sacraments. (shrink)

In the epigraph, Fisher is blaming two generations of theoretical biologists, from Darwin on, for ignoring Quetelet's statistical techniques and hence harboring confusions about evolution and natural selection. He is right to imply that Darwin and his contemporaries were aware of the core of Quetelet's work. Quetelet's seminal monograph, Sur L'homme, was widely discussed in Darwin's academic circles. We know that Darwin owned a copy (Schweber 1977). More importantly, we have in Darwin's notebooks two entries referring to Quetelet's work on (...) the cause of a large-scale global phenomenon where each year more boys were born than girls. The first entry is written sometime between April and July 1838. Darwin writes "Find out from the Statistical Society—where M. Quetelet has published his laws about sexes relative to age of Marriages" (C 268, Barrett et al., 1987, p. 324). The second is written sometime after October 16, 1838: "In the Atheneum Numbers 406, 407, 409, Quetelet papers are given, & I think facts there mentioned about proportion of sexes, at birth & causes" (Ibid, p. 379). So, even if Darwin did not read Sur L'homme directly it is likely (though not certain) that he read its review in the Atheneum. There is no doubt that Darwin eventually became familiar with Quetelet's work in statistics. The smoking gun is an essay that Darwin writes in 1874, entitled, "On the Males and Complemental Males of Certain Cirripedes, and on Rudimentary Structures" where he discusses Quetelet's laws of variation. (shrink)

This paper engages with Suárez’s writings on the origins of political power in order to ascertain whether he can be considered a social contract theorist at all. It focuses on specific details of his consent theory, namely the ‘who’, the ‘what’, the ‘how’ and the ‘what for’ of the agreements that originate government. The conclusion shows that even though his systematic treatment of contracts falls short of becoming a social contract theory in the same way as modern contractualist thinkers, he (...) can still be considered a social contract theorist in the tradition of the School of Salamanca. (shrink)

Osvald Demuth studied constructive analysis from the viewpoint of the Russian school of constructive mathematics. In the course of his work he introduced various notions of effective null set which, when phrased in classical language, yield a number of major algorithmic randomness notions. In addition, he proved several results connecting constructive analysis and randomness that were rediscovered only much later.In this paper, we trace the path that took Demuth from his constructivist roots to his deep and innovative work on the (...) interactions between constructive analysis, algorithmic randomness, and computability theory. We will focus specifically on Demuth’s work on the differentiability of Markov computable functions and his study of constructive versions of the Denjoy alternative, Demuth’s independent discovery of the main notions of algorithmic randomness, as well as the development of Demuth randomness, and the interactions of truth-table reducibility, algorithmic randomness, and semigenericity in Demuth’s work. (shrink)

The first half of the 17th century was a time of intellectual ferment when wars of natural philosophy were echoes of religious wars, as we illustrate by a case study of an apparently innocuous mathematical technique called adequality pioneered by the honorable judge Pierre de Fermat, its relation to indivisibles, as well as to other hocus-pocus. André Weil noted that simple applications of adequality involving polynomials can be treated purely algebraically but more general problems like the cycloid curve cannot be (...) so treated and involve additional tools–leading the mathematician Fermat potentially into troubled waters. Breger attacks Tannery for tampering with Fermat’s manuscript but it is Breger who tampers with Fermat’s procedure by moving all terms to the left-hand side so as to accord better with Breger’s own interpretation emphasizing the double root idea. We provide modern proxies for Fermat’s procedures in terms of relations of infinite proximity as well as the standard part function. (shrink)

The process [by which any individual settles into new opinions] is always the same. The individual has a stock of old opinions already, but he meets a new experience that puts them to a strain…. The result is an inward trouble to which his mind till then had been a stranger, and from which he seeks to escape by modifying his previous mass of opinions. He saves as much of it as he can, for in this matter of belief we (...) are all extreme conservatives. So he tries to change first this opinion, and then that (for they resist change very variously), until at last some new idea comes up which he can graft upon the ancient stock with a minimum of disturbance of the latter, some idea that mediates between the stock and the new experience and runs them into one most felicitously and expediently.The new idea is then adopted as the true one. It preserves the older stock of truths with a minimum of modification, stretching them just enough to make them admit the novelty, but conceiving that in ways as familiar as the case leaves possible. (William James, Lectures on Pragmatism, 1907). (shrink)

In this text I shall explore the meaning of the concept “exponent” in the first Critique by resorting to its provenience. Beginning with a brief analysis of the two meanings Kant ascribes to it the Critique, the exponent of a series and the exponent of a rule, I intend to point out that by means of Kant’s concept of analogy, intimately linked with proportion, we can find a route into some of the mathematics textbooks of the 18 th century, which (...) shed great light in the matter. Thereafter, as a transition for returning to the Critique, we shall see how, in the Duisburgscher Nachlass, the exponent plays a central role for Kant as he thinks the emergency and necessity of rules in Philosophy, in comparison to Mathematics. In this way I hope to show how the “exponent” is taken up by Kant and made fruitful, especially for the Analogies of experience. (shrink)

In his Apology of the Church of England as well as many of his other works, John Jewel defended the orthodoxy of the Elizabethan Church on the basis of the following criteria: Scripture, the first four general councils, the writings of the Church Fathers, and the example of the primitive church.1 By emphasizing these authorities, the bishop of Salisbury also sought to impeach the Roman Church’s claim to orthodoxy by arguing that doctrines and practices which developed subsequently to the early (...) church as defined by these criteria contradict them, thereby nullifying its charge of heresy against Protestants while simultaneously indicting the papacy itself as heretical. A question that emerges from studying Jewel’s prodigious polemical works concerns the source of this means of determining orthodoxy. Answering this question requires a close analysis of the apologist’s use of sources. This article will attempt to answer this question by arguing that this criteria for defining orthodoxy derived mainly from canon law tradition that is confirmed specifically by Gratian’s Decretum. This thesis maintains that Jewel’s criteria constituted a form of the ius antiqua with which he attacked the ius novum that provided the authoritative basis for papal supremacy, and in so doing, sought to vindicate the Elizabethan Church’s place in ancient catholic tradition. (shrink)

John Jewel, regarded as the principal apologist and theologian for the Elizabethan Church, was also esteemed as one of England’s most important authority on the subject of usury, and therefore was cited frequently by opponents of usury towards the end of the sixteenth century and throughout the seventeenth century. One of the most sustained interpretations of Jewel as a theologian on the subject of usury was by Christoph Jelinger, who observed that the late bishop of Sarum employed the same theological (...) method in opposing usury as he did in defending the doctrines and practices of the Church of England against its Catholic opponents, that is, by appealing to the Scriptures, the Church Fathers, Church Councils, and the example of the primitive church. This article seeks to confirm the opinion of Jelinger, and in doing so show that Jewel’s opposition to usury stemmed primarily from the conviction that it was both a vice and heresy that eroded the unifying attribute of Christian society which was love. (shrink)

According to Ronald Dworkin's mature views on jurisprudence, legal normativity depends on judges’ views about political morality. Plato's own mature views on this subject seem to take the contrary position as he claims that the law is expected to be authoritative in order to preserve a given state of affairs. Therefore, in Plato's view judges are not expected to interpret the law ubiquitously according to their own standards of political morality. In what follows, the discussion starts off by offering a (...) brief account of Dworkin's interpretivism and some of its shortcomings. We shall then move on to Plato's account of legal normativity, especially his views on the authority of law, law as preservation, and finally the politics of law in the light of the debate between conservatism and progressivism. (shrink)

Levinas is almost solely studied from the perspective of phenomenology, and this is evidently quite justifiable by the fact that the philosopher claims to be Husserl’s heir, although it is very importante to consider other influences for a deeper understanding of his thought, such as talmudism and Russian literature. But, in general, an important reference remains forgotten that Levinas never fails to mention in his interviews and even in the preface to the German edition (1987) of his important book Totalité (...) et infini: Bergson’s philosophy. Our objective is to seek the elements of this approach, often mentioned but little explored, between the ethical intuitions of Levinas and Bergson. Although it is not the work Les deux sources de la morale et de la religion that Levinas likes to remember when referring to Bergson, it is what we will evoke to suggest an intuitive communication that connects the bergsonian concept of open and the levinasian concept of the infinite. Levinas takes a step beyond phenomenology when he elaborates one of his fundamental concepts, that of visage, and it is he himself who admits in the conversation with Philippe Nemo entitled Éthique et infini (1984), but we should be surprised if the most important notion of Levinas ethics, that of infinity, would reveal what is most essential in Bergson’s ethics, the sense of openness through which unlimited, in other words, unconditional, responsibility is announced? (shrink)

Chris Stewart’s account of his experiences after purchasing a farm in Andalusia, in an isolated farmhouse in the mountains adjacent to Granada, are far from the traditionally bucolic depictions of a pastoral landscape, in which the drawbacks of agricultural life become unquestionably compensated by the bliss of life in nature. Even though, as the title indicates, he seems to be a born romantic and optimist, undefeated by the inconveniences of a life without the everyday commodities of a First-World country in (...) the twenty-first century, his memoir narrative is soon balanced by his own testimony, which provides a realistic counterbalance to Stewart’s initial idealistic portrayal of life in rustic Alpujarras. Nonetheless, as this article intends to demonstrate, it is precisely this necessary demystification of the rural setting prevailing in certain areas in Andalusia that becomes crucial for the establishment of an essential complicity with the audience, thereby trained to appreciate—and even become enthralled by—the reality of the rural surroundings which the contemporary reader can no longer envision as merely a place of “vales and hills” softly covered by “a host of golden daffodils”. El relato que lleva a cabo Chris Stewart acerca de sus experiencias tras adquirir una finca en Andalucía, en un lugar apartado de la sierra lindante con Granada, se aleja de las descripciones bucólicas de paisajes pastorales en los que las desventajas de la vida agrícola quedaban incuestionablemente compensadas por el gozo de la vida en mitad de la naturaleza. Incluso pese a que, tal y como el título de su novela indica, Chris Stewart parece ser un romántico y un optimista de nacimiento, que no se deja vencer por los inconvenientes de una vida sin las comodidades cotidianas de un país del primer mundo en el siglo xxi, su memoria-narrativa se ve inmediatamente equilibrada por su propio testimonio, que proporciona un contrapunto realista al idealizado retrato inicial de la vida en las rústicas Alpujarras. No obstante, como el presente artículo pretende demostrar, es precisamente esta necesaria desmitificación del entorno rural de ciertas zonas de Andalucía lo que resulta crucial para poder establecer una esencial complicidad con el lector, que llega, de este modo, a valorar, e incluso, a sentirse fascinado, por la realidad del contexto agrario, el cual deja ya de percibir meramente como un lugar de «valles y colinas» delicadamente cubierto por «una cohorte de dorados narcisos». (shrink)

1. To list Pound’s triumphs of recognition in the realm of art, music, or literature is by itself no more enlightening than to catalog his oversights. Thus, for example, his instant and almost uncanny responsiveness to the work of Henri Gaudier-Brzeska is not more informative than his bizarre ranking of Francis Picabia’s paintings above those of Picasso or Matisse. Clearly it is essential to know, with as much specificity as possible, exactly what Pound said about a particular work of art (...) or literature and, equally important, given the frequent shifts of emphasis and interest throughout his long career, just when these opinions were first formulated. Like every reader of the The Cantos, I am conscious of the enormous service rendered by Pound scholars whose research is giving us a more complete inventory of the poet’s various statements and positions, and it would be foolish to take my point here as a derogation of such efforts. But a list, no matter how complete, is not an argument, and an inventory, no matter how scrupulously assembled, is not an explanation; a recurrent problem in Pound studies is that too often the compoilation of discrete items of information is seen as a sufficient answer to problems of interpretation and understanding. In other words, I think it essential that discussions of pound and the Visual Arts move beyond the quagmire resulting from still another frain-storm of “factual atoms” chronicling his various passions and dislikes.2. Far from implying, however, that we must therefore simply accept Pound’s brilliant discoveries and pass over his “howling blunders,” my position would emphasize the need to take his ideas seriously enough to confront them, to test them against the material to which they are a response and for which they often seek to provide an explanatory account. There are times, as I have argued in an analogous context, when it is less demeaning to give a man credit for his worst errors than to remove from him the capacity to err.3. What we require, I believe, is less a catalog of all of Pound’s specific statements about various artists, with each utterance assigned a positive or negative prefix depending upon our own personal and currently sanctioned hierarchy of values, than a careful study of the place of those statements in the logic and texture of Pound’s own work. The attempt to focus attention on The Cantos’ network of artistic references—its invocation of masterpieces and privileged moments of cultural achievement—will yield only trivial results unless the inner dynamic linking Pound’s various exampla and the actual role these play in the poem’s argument become clearer in the process. Michael André Bernstein, associate professor of English and comparative literature at the University of California, Berkeley, is the author of The Tale of the Tribe: Ezra Pound and the Modern Verse Epic and Prima della Rivoluzione , a volume of verse. He is currently completing a study of the Abject Hero and literary genealogy. His previous contribution to. (shrink)

Summary This article focuses on the relevance of Alexander von Humboldt's correspondence in the formation of transatlantic scientific networks at the beginning of the nineteenth century. Apart from connecting Humboldt with scientists and scholars worldwide, his correspondence turned out to be a fundamental tool for assuring the material conditions and the social and scientific connections he needed to carry out his research on the Spanish colonies and to simultaneously diffuse his achievements on the European side of the Atlantic. His contact (...) with Hispanic American scientists and with the local elites enabled him to build a broad social network, gaining access to key material, human and intellectual resources. The letters sent to scientists, scientific institutions and noblemen in Europe, for their part, kept Humboldt's European correspondents informed about his activities in Hispanic America, contributing to the validation of his work before the scientific community and the fulfilment of the duties resulting from the political and institutional support he received both before and during his travels. This stresses the importance of strategic social groups and their cooperation in the framework of exploratory travels as a means to gaining access to resources in the peripheries. It also reveals the scientist's dependence on all those who supported his research: kings, barons, botanical gardens, universities, and academies. (shrink)

Antonio Andrés es un filósofo español del siglo XIV, muy conocido por la relación que mantuvo con Duns Escoto en París. Por esta razón, algunos escritos de Antonio Andrés han sido confundidos con los escritos de Duns Escoto. En este trabajo se estudian dos problemas: primero, determinar qué obras pertenecen a Antonio Andrés; segundo, mostrar si Antonio Andrés fue un filósofo original o bien fue un mero recopilador y difusor de los escritos de Duns Escoto.Antonio Andrés in a Spanish philosopher (...) who lived in 14th century. He is well known because of his relation to Duns Scot. That's why some writings of Antonio Andrés have been confounded with the writings of Duns Scot. Two problems are studied in this work; first, to appoint which writings belong to Antonio Andrés; second, to prove if Antonio Andrés was either an original philosopher or a mere commentator of Duns Scot's writings. (shrink)

This article shows firs that the text hitherto known as the Prologue to the Works of Propositions by Meister Eckhart is in fact his treatise On Being, What is, and Nothing, to which he himself refers in his Sermons and Lectures on the Twenty-fourth Chapter of «Ecclesiasticus». The article also analyses the relationship between the two extant commentaries on Genesis by Eckhart: the Expositio on Genesis and the Book of the Parables of Genesis.

Working in Germany between the two world wars, John Heartfield developed an innovative method of appropriating and reusing photographs to powerful political effect. As a pioneer of modern photomontage, he sliced up mass media photos with his iconic scissors and then reassembled the fragments into compositions that utterly transformed the meaning of the originals. In John Heartfield and the Agitated Image, Andrés Mario Zervigón explores this crucial period in the life and work of a brilliant, radical artist whose desire to (...) disclose the truth obscured by the mainstream press and imperial propaganda made him a de facto prosecutor of Germany’s visual culture. Zervigón charts the evolution of Heartfield’s photomontage from an act of antiwar resistance into a formalized and widely disseminated political art in the Weimar Republic. Appearing on everything from campaign posters to book covers, the photomonteur’s notorious pictures challenged well-worn assumption and correspondingly walked a dangerous tightrope over the political, social, and cultural cauldron that was interwar Germany. Zervigón explains how Heartfield’s engagement with montage arose from a broadly-shared dissatisfaction with photography’s capacity to represent the modern world. The result was likely the most important combination of avant-garde art and politics in the twentieth century. A rare look at Heartfield’s early and middle years as an artist and designer, this book provides a new understanding of photography’s role at this critical juncture in history. (shrink)

This book offers a superbly clear analysis of the standard arguments for and against scientific realism. In surveying claims on both sides of the debate, Kukla organizes them in ways that expose unnoticed connections. He identifies broad patterns of error, reconciles seemingly incompatible positions, and discovers unoccupied positions with the potential to influence further debate. Kukla's overall assessment is that neither the realists nor the antirealists may claim a decisive victory.

En este texto se trabaja sobre las ideas sostenidas por Krause respecto de la dialéctica y el lugar de las mujeres. En lo referido a la primera cuestión, se analiza la peculiaridad de la dialéctica krausiana mostrando el esfuerzo que este autor realiza por ablandar las antinomias del esquema dialéctico, desconfiando siempre de la síntesis y proponiendo una dialéctica dual de la complementariedad El recorrido realizado incluye consideraciones relativas a la filosofía del derecho y la dialéctica en Krause, Hegel y (...) Marx. En lo referido al lugar de las mujeres, Krause pensaba que si el Estado debía serlo de un pueblo organizado democráticamente, era preciso partir de una reestructuración de la familia. Desde su punto de vista el Estado provenía de la familia, de allí su esfuerzo por reformular su estructura sobre nuevas bases: la educación en los valores de libertad e igualdad. A contrapelo de las ideas volcadas por Rousseau en el Emilio, Krause pensaba que era preciso educar a las mujeres para la libertad y la armonía con el varón, de modo tal que a partir de una familia así formada se llegara a la institución de un Estado orgánico que no fuera obstáculo para el desarrollo pleno de cada uno de los seres humanos. Para Krause las mujeres deberían ser empujadas a unirse a la Alianza de la Humanidad, el ideal libertario promulgado por el filósofo. En este credo sería educada Sofía, su hija primogénita.This paper works about the Krause's ideas both dialectics and women's place. On dialectics the author analyzes the peculiarity of Krausist dialectics showing the author's effort to conceive the antinomies of dialectics in a softer way. Krause doesn't have any trust in the synthetics moments and he proposes a dual dialectic of complementarities. The study includes considerations about the philosophy of right and dialectics in the works of Krause, Hegel and Marx. On women's place, Krause thinks that the State ought to be of a democratically organized country it must be necessary to begin by family organization. In his opinion the State became from the family, thus he thought that it was necessary to redefine its structure in other basis: the education in values of liberty and equality. Against Rousseau and his ideas Krause thought that women ought to be educated from freedom and harmony with the man. This family, in this way formed would was the basis of the new State. This State will doesn't be an obstacle for full human development. From Krause's point of view women must be pushed to joint the Alliance for Humanity, his libertarian ideal. In this believes was growing Sophie, his eldest daughter. (shrink)

In _The Immaterial_,_ _French social philosopher André Gorz argues, in his finely-tuned and polemical style, that the economic boom that accelerated in the 1990s and crashed so spectacularly in 2008 was based largely on an immaterial consumption of symbols and ideas, as capitalism tried to overcome the crisis of the formally industrial regime by throwing itself into a new, so-called knowledge economy. In this, the last full-length theoretical work Gorz completed before his death, he argues instead for the creation of (...) a true knowledge economy. This economy would be based on zero-cost exchange and pooled resources, and knowledge would be treated as humanity’s common property. Currently, in order to exploit knowledge and turn it into capital, the capitalist enterprise privatizes specialized knowledge and claims ownership through private licenses and copyright. But as Gorz shows, the traditional foundations of such capitalist economics have begun to crumble because of the immaterial nature of this new form of product, which makes it almost impossible to measure in monetary terms. The knowledge economy, Gorz declares, _is_ the crisis of capitalism. Thought-provoking and divisive, _The Immaterial _is the perfect book for our time, as we begin to reimagine the structures of our economic system in order to rebuild and move forward. “It is to Gorz... that readers should turn for a compelling combination of sharp analysis, well-wrought polemic, and suggestions for the future.”—_Red Pepper_ “A great figure of the intellectual Left.”—Nicolas Sarkozy “Gorz’s intelligence strikes you at the very first glance: it is one of the nimblest, acutest intelligences I know.”—Jean-Paul Sartre. (shrink)

This study provides a step by step explanation of André Malraux’s theory of art. Drawing on his major works, such as "The Voices of Silence" and "The Metamorphosis of the Gods," it examines topics such as the nature of artistic creation, the psychology of our response to art, the birth of the notion of “art” itself and its transformation after Manet, the birth and death of the idea of beauty, the neglected question of the relationship between art and the passage (...) of time, the emergence of our “first universal world of art,” the contemporary role of the art museum and the musée imaginaire, and the contentious question of the relationship between art and history. -/- Rejecting negative criticisms from writers such as Maurice Merleau-Ponty and E. H. Gombrich, the study argues that Malraux offers us a theory of art that is fully coherent and highly illuminating. In addition, the analysis shows that he presents a radical challenge to the traditional explanations of art inherited from the Enlightenment that have dominated Western thinking for some three hundred years. In short, the study unveils a way of understanding art that is nothing short of an intellectual revolution. -/- The book is the English version of a study entitled André Malraux et l’Art: Une Révolution Intellectuelle published in French by Peter Lang in April 2021. (shrink)

Some versions of moral naturalism are faulted for implausibly denying that moral obligations and prescriptions entail categorical reasons for action. Categorical reasons for action are normative reasons that exist and apply to agents independently of whatever desires they have. I argue that several defenses of moral naturalism against this charge are unsuccessful. To be a tenable meta-ethical theory, moral naturalism must accommodate the proposition that, necessarily, if anyone morally ought to do something, then s/he has a categorical reason to do (...) it. Versions of moral naturalism that deny this claim would, if widely believed, disable some crucial practical uses of moral concepts. In particular, if the existence of normative reasons for action is taken to be dependent on agents’ desires, it would breed profound skepticism about the legitimacy of evaluating others’ actions from a moral point of view. Also, it would raise doubts about whether people ought to correct their own behavior in light of moral considerations. Following Richard Joyce, I take these consequences to indicate that the concept of a categorical reason is a “non-negotiable” part of moral concepts. (shrink)

: The Newman programs established at secular colleges and universities provided an opportunity for intellectual, spiritual, and social growth among the Catholic student population. As a young physician and junior medical faculty member, André Hellegers took part in the early organization and ongoing work of Carroll House, the Newman Center at the Johns Hopkins Medical Institutions. Hellegers's experience at Carroll House enabled him to develop a clear blueprint of an academic center of excellence for the scientific, theological, and philosophical exploration (...) of the many problems that he had seen and foresaw in medicine. That center would become Georgetown's Kennedy Institute of Ethics. (shrink)

Unparalled in its poetry, richness, and religious and historical significance, the Hebrew Bible has been the site and center of countless commentaries, perhaps none as unique as Thinking Biblically. This remarkable collaboration sets the words of a distinguished biblical scholar, André LaCocque, and those of a leading philosopher, Paul Ricoeur, in dialogue around six crucial passages from the Old Testament: the story of Adam and Eve; the commandment "thou shalt not kill"; the valley of dry bones passage from Ezekiel; Psalm (...) 22; the Song of Songs; and the naming of God in Exodus 3:14. Commenting on these texts, LaCocque and Ricoeur provide a wealth of new insights into the meaning of the different genres of the Old Testament as these made their way into and were transformed by the New Testament. LaCocque's commentaries employ a historical-critical method that takes into account archaeological, philological, and historical research. LaCocque includes in his essays historical information about the dynamic tradition of reading scripture, opening his exegesis to developments and enrichments subsequent to the production of the original literary text. Ricoeur also takes into account the relation between the texts and the historical communities that read and interpreted them, but he broadens his scope to include philosophical speculation. His commentaries highlight the metaphorical structure of the passages and how they have served as catalysts for philosophical thinking from the Greeks to the modern age. This extraordinary literary and historical venture reads the Bible through two different but complementary lenses, revealing the familiar texts as vibrant, philosophically consequential, and unceasingly absorbing. (shrink)

This review essay critically discusses Andre Kukla's Methods of theoretical psychology. It is argued that Kukla mistakenly tries to build his case for theorizing in psychology as a separate discipline on a dubious distinction between theory and observation. He then argues that the demise of empiricism implies a return of some form of rationalism, which entails an autonomous role for theorizing in psychology. Having shown how this theory-observation dichotomy goes back to traditional and largely abandoned ideas in epistemology, an alternative (...) is presented in the guise of the pragmatist or functionalist tradition, where the interdependence of theory, observation and action is emphasized and the positivist dichotomy of pure observations and pure theory is rejected. Furthermore, we show how recent work on "active" perception supports the functionalist approach. Although the authors agree with Kukla that theory has a legitimate place in psychology, it is suggested that he needlessly limits its scope to autonomous domain-neutral theorizing, and that broadening its perspective to analyzing the presuppositions and implications of empirical work is a more fruitful approach. In fact, the attempt to find the epistemological and philosophical implications of empirical work in perception that is sketched in this review essay is, in the authors' view, a case of theorizing in psychology. (shrink)

Frank Mitjans is an architect who has worked in London since 1976. He was introduced to the significance of the figure of St. Thomas More by Andrés Vázquez de Prada, author of the biography, Sir Tomás Moro, Lord Canciller de Inglaterra. In 1977 Vázquez de Prada invited Mitjans to visit with him the Thomas More Exhibition at the National Portrait Gallery, which stimulated his interest in representations of More, his family and his friends. Since August 2002 he has given many (...) presentations and talks on the topography of More’s London to groups of students and other interested people in Britain, Ireland, and Sweden. Frank Mitjans, architecte qui travaille à Londres depuis 1976, fut initié au personnage de Saint Thomas More par Andrés Vázquez de Prada, auteur de la biographie Sir Tomás Moro, Lord Canciller de Inglaterra. En 1977 Vázquez de Prada l’invita à l’accompagner dans sa visite de l’exposition Thomas More à la National Portrait Gallery, évènement qui aiguisa son intérêt pour les représentations de More, de sa famille et de ses amis. Depuis août 2002 il a régulièrement fait des présentations et des exposés à des groupes d’étudiants et d’autres en Grande-Bretagne, Irlande et Suède au sujet de la topographie du Londres de Thomas More. The recent exhibitions of the works of Holbein in London and Basel, and scholarly publications such as Holbein and England, have rekindled interest in the Portrait of Thomas More and his Family, and in the late sixteenth-century versions of Holbein’s presumed lost original. The present paper analyses the differences between the sixteenth-century versions and Holbein’s 1527 composition sketch, and concludes that the sketch is a more reliable witness to Holbein’s lost painting than the later versions, as well as the only authentic witness to More’s intentions; though anything we learn from the drawing must be checked against what we know from More’s letters and writings and other biographical data. From the later versions, however, and in particular from the references to Seneca on them, we can learn about those who commissioned them and England’s peculiar historical circumstances. (shrink)

The author of the paper analyses different varieties of Kantianism – sometimes more true to the spirit than to the letter of Kant’s – which appear in the 20th century anthropology. Thus he allows us to see that the thought which looks back to Kant is able to remove "complexes" and overcome the "inner contradictions" of modern anthropology.

In 1936, Alan Turing proposed the notion of an automated machine as a model of the computation performed by a human being while only being aided by mechanical resources. Still, it seems that much more can be said about Turing’s own conception of machines in the scope of his later work, both terminologically and conceptually. In this paper we present the terms he used that refer to machines and that according to our understanding are important to give an account of (...) Turing’s concerns and the problems he tackled with after his first recourse to the notion of machine during the late nineteen-thirties. Exploring his usage of such terms we show how it is possible to see an enlargement or extension towards a general notion of machine from the very first automated machine. At the same time, we identify in his work a modelling attitude or stance in which machines can be used as a way to understand and explain a natural or abstract phenomenon. (shrink)

De 1581 a 1585, Montaigne foi prefeito de Bordeaux. Foi acusado por detratores de não se ter aplicado o bastante e de não ter feito nada de marcante durante seus dois mandatos. Ao responder às acusações no ensaio "De poupar a própria vontade" (III, 10), o autor encontra a ocasião para uma crítica das paixões em geral e, em particular, das que pertencem ao contexto político. Isto porque ele visava, com sua aparente falta de aplicação aos deveres de prefeito, evitar (...) a paixão que tantas vezes se oculta por trás do engajamento - a ambição, desejo de honras, glória, renome. Sobretudo, esperava evitar um duplo perigo, ao mesmo tempo ético e político: comprometer a própria liberdade numa busca servil da glória e subordinar o bem coletivo ao interesse pessoal. No presente estudo, procuraremos reconstituir a trama argumentativa do ensaio em questão, acompanhando de perto os argumentos que sustentam a crítica montaigniana das paixões, bem como a terapia muito particular a que o ensaísta as submete, a qual lhe permite fazer do episódio da Mairie de Bordeaux um modelo de conciliação entre o cuidado de si e o cumprimento dos deveres políticos. From 1581 to 1585 Montaigne was the mayor of Bordeaux. He was accused by detractors of not having been sufficiently dedicated to his functions and of having done nothing remarkable during his two terms. In answering to such charges in the essay "Of Managing the Will" (III, 10), the author finds the occasion for criticising passions in general and, in particular, those concerning the political context. The reason for it is that he sought, with his apparent lack of commitment to the mayor's duties, to avoid the passions which usually hide behind such an engagement: ambition, desire for honours, glory, renown. Above all he hoped to avoid a double danger, both ethical and political: to compromise his freedom in a servile pursuit of glory and to subordinate the common good to his personal advantage. In the present study we will seek to rebuild the argumentative plot of the essay, following closely the reasoning which supports the Montaignean critique of passions and also the very particular therapy to which the essayist submits them, which allows him to turn the Mairie de Bordeaux episode into a conciliation model between the care of the self and the fulfillment of political duties. (shrink)

This article examines a neglected dimension of Bazin's work, namely his writings for the daily newspaper Le Parisien libéré. Four key points emerge from this corpus. First, Bazin goes beyond the film-reviewing norms of the day to analyse the intentions and achievements of the film-makers. Second, Bazin foregrounds the capacity of cinema to address the concerns of contemporary society. Third, as a result, he ascribes a particular value to films that actively engage with the new social realities of post-war France. (...) Four, Bazin remains blind to the misogynistic dimension of post-war French cinema, with its tendency to culpabilize women for the national disgrace of the Occupation. Ultimately, Bazin's newspaper reviewing represents a more socially aware vision of cinema than that promoted by more specialized cinema journals, yet his criticism remains caught within the gender ideology of his time. (shrink)

Charles Darwin’s theory of species evolution by means of natural selection is known largely because of the impact it had on biology and other natural sciences in general; this is hardly a surprising fact. Thus, it could strike certain readers –those accustomed to a philosophical discourse– as odd to speak of “Darwinian ethics.” However, Darwin’s theory of evolution has not been unknown to other areas and disciplines of thought, philosophy among them. Just as with other ‘destroyers’ of the ideas present (...) in their time –such as Nietzsche or Freud–, the impact of Darwin’s thought was felt as a deadly blow to some of the staple ideas and suppositions he weld concerning human life, nature and our place in it. Therefore, it is certainly relevant to discuss, as philosophers, the possibility of an ethic that is purely based on Darwin’s ideas. With this in mind, what I intend to do in the following article is to offer a brief exposition of Darwinian ethics, its main aspects as well as some of the problems and criticisms it has faced since its inception. It would certainly not be possible to speak of one single approach to Darwinian ethics; on the contrary, the theory has been reviewed and reinterpreted a great number of times, and not only by Darwin himself but also by many subsequent thinkers. Among these new reinterpretations, it has come to my attention the one offered by Darwinian metaethics, and to this approach I personally subscribe. Next I will consider diverse positions regarding the issue of Darwinian ethics, and will try to explain why metaethics offer the correct approach to it. (shrink)