DISSERTAÇÃO DE MESTRADO MATTOS, Solange Missagia. Imaginário religioso: o simbolismo do herói à luz de Joseph Campbell e Carl Gustav Jung. 2011. 115 folhas. Dissertação (Mestrado) – Pontifícia Universidade Católica de Minas Gerais, Programa de Pós-graduação em Ciências da Religião, Belo Horizonte.

A substância deste artigo consiste na leitura de alguns autores que tratam do mito e do imaginário sem acatar as propostas que se fundamentam no racionalismo cartesiano e no influente positivismo do século XIX. Tais autores, como Eliade e Durand, desenvolveram no século XX um estudo do mito e da imagem com a perspectiva de uma orientação epistemológica que surgira na intenção de se constituir como uma nova abordagem científica, levando o elemento imaginativo e mítico ao encontro da realidade (...) imediata. O argumento principal dessa nova abordagem, que aqui tentamos minimamente apresentar, em torno do mito e da imagem, opõe-se ao dualismo filosófico que coloca em extremos o materialismo e o subjetivismo; dessa forma, tais autores chegaram a uma conclusão que ratifica a retórica da imagem simbólica e reafirma a força diretiva dos mitos, deixando o ditame imaginário de ser uma simples abstração ou engano, uma vez que segue regras mais profundas e é significativamente responsável pela dinâmica social ou pelas produções individuais representativas da cultura, no tempo e no espaço. Palavras-chave: Mito; Imaginário; Nova epistemologia; Século XX. ABSTRACT This article resentats some authors who treat myth and the imaginary without taking into consideration the proposals based on Cartesian rationalism and on 19th-century influent positivism. Those authors, such as Eliade and Durand, developed a study of myth and image in the perspective of an epistemological orientation aimed at elaborating a new scientific approach, promoting the encounter between imaginative and mythical elements and immediate reality. The main point in this approach in terms of myth and image, which we attempt to briefly present here, is opposed to the philosophical dualism that sets materialism and subjectivism distantly apart. Thus, those authors eventually reached a conclusion that ratifies the rhetoric of symbolic image and reaffirms the guiding strength of myths, releasing the imaginary from the restriction of being just an abstraction or a mistake, once it follows much deeper rules and is significantly responsible for social dynamics or for the individual’s culturally representative prductions in time and space. Key words: Myth; The imaginary; New epistemology; 20th century. (shrink)

Normal 0 21 false false false MicrosoftInternetExplorer4 Resumo O Reinado de Nossa Senhora do Rosário (também conhecido como Congado), manifestação católica, típica dos negros, festa popular e importante no Estado de Minas Gerais funda-se em uma narrativa mítica em torno da Santa de mesmo nome e constitui o imaginário de seus devotos. Compreender como esta religiosidade mítica foi constituída no Brasil é o objetivo desse artigo. Os dados são partes integrantes de tese de doutoramento que adotou a teoria da (...) complexidade (Morin), a psicologia profunda (Jung, Campbell, Bachelard), a antropologia do imaginário (Durand) e a antropologia da festa (Duvignaud) com seus principais expoentes em diálogo com outros autores, como referenciais teóricos. A mithopoiésis (Ferreira Santos) aqui entendida como a elaboração de sentidos dada pelos congadeiros à sua própria vida orientada pelo fundo mítico de Nossa Senhora do Rosário, se tornou a metodologia mais adequada para o estudo. Os resultados encontrados possibilitaram a construção de novos conhecimentos sobre as comunidades afrodescendentes, ampliando a nossa compreensão sobre a sociedade brasileira, e sobre nós mesmos. Palavras-chave: congado; mito; imaginário; festa.Nossa Senhora do Rosário's Reign (also known as Congado), Catholic manifestation, typicaly of black people, popular and important party in the State of Minas Gerais is founded on a mythical narrative about the Saint of the same name and establishes the imagination of its devotees . Understanding how this mythical religion was established in Brazil is the purpose of this article. The data is part of the doctoral thesis which adopted the theory of complexity (Morin), depth psychology (Jung, Campbell, Bachelard), anthropology of the imaginary (Durand) and anthropology of the party (Duvignaud) with their main representatives in dialogue with other authors, as theoretical reference. The mithopoiésis (Ferreira Santos) here is understood as the elaboration of senses given by the Congadeiros to their own lives, guided by the mythical background of Nossa Senhora do Rosário has become the most appropriate methodology for the study. The results allowed the construction of new knowledge about the afro-descendent communities, enlarging our understanding of the Brazilian society, and ourselves. Key words: congado ; myth; imaginary; party. (shrink)

O propósito que anima este estudo é o de desenvolver análises e construir argumentos, focalizando a “imagem de homem” como tema filosófico do processo reflexivo de formação docente continuada. A metodologia utilizada na formulação dos argumentos foi recorrente ao ensaio, com um encadeamento articulado de análises sustentadas por aportes cuja delimitação temática e teórica é justificada no artigo. Nas considerações finais, reforçam-se os argumentos sobre a importância da continuidade e aprofundamento da formação docente, ressaltando-se, em seus estudos e reflexões, os (...) subsídios do campo temático da filosofia da educação, e nele, a consideração a questões instigantes referidas à imagem de homem que possa, de modo pouco visibilizado e refletido, estar subjacente ao escopo das práticas educativas dos professores. Propõe-se, então, que se considerem, nos critérios orientadores das práticas, referências críticas e contextualizadas, que se encontram na dinâmica da ação-reflexão-ação, própria dos encontros de formação na escola. (shrink)

The present study is based on the work by Sara Maitland entitled A Book of Silence and seeks to reflect on this theme in the line of high spirituality by crossing it with the figures of the imaginary that form the silence itself. To this end, we seek in the first part, devoted to silence, to understand the nature of silence in its manifestations, types and images, as it was thought and studied by Sara Maitland in her A Book of (...) Silence. Then, in the second part, reflect on the meaning of this constellation of images to try to delineate the imaginary of silence. In the third part, taking into account the developments of the first and second parts, we will reflect on the trilogy of silence-imaginary-creativity. We will conclude with some reflections and questions raised by the analysis of the author’s work. (shrink)

Transformations are not only conditioned by facts encompassing narrower or wider panoramas: from concentrating on death and one (political) role (the ode of Horace), through recalling Cleopatra’s mature life and love (the drama of Shakespeare), to creating an image embracing the heroine’s whole life with its numerous roles, but as a mother and a daughter in the first place, because even her lovers resemble a father and a child (the fictional biography of Karen Essex). Above all, they appear to be (...) more connected with different attitudes towards universal references lying within human cognitive abilities. Horace’s didactic opposition of contradictory patterns leads to the victory of one of them — and it is a linear pattern, as an equivalent of modern myth, which is accepted by the author himself. In Shakespeare, it takes a form of tragedy resulting from the fragmentary character of each pattern, one of which introduces change (archaic myth) and the other constancy (modern myth), and from a painful attempt to combine them. In Essex, the vision of the world in which archaic myth, strongly represented by a child, triumphs is utopian. Irrespective of the differences, all the works realize the essential role played by images developed by heroes, and especially by authors, in human cognition. (shrink)

A perícope das serpentes no deserto destaca-se do conjunto de escritos que recorrem ao simbolismo da serpente, ao utilizar esse elemento potencialmente enganoso para a fé de Israel, ambivalente. Diante disso, o objetivo deste trabalho foi compreender o simbolismo da serpente em Nm 21,4-9, a partir de uma análise do texto e da possível influência por parte dos egípcios e povos do Antigo Oriente Próximo. A análise narrativa destacou o texto como um enredo de conflito-solução no drama vivido (...) pelo povo. Na ótica do conflito, foram levados em conta os aspectos antropológicos e culturais do simbolismo da serpente e seu alcance teológico. A interpretação favoreceu a compreensão da dimensão pedagógica de Deus diante da necessidade de conversão do povo que estava na etapa final da caminhada do deserto, prestes a entrar na terra de Canaã. Dentro da economia da revelação, o autor dá um novo significado à serpente levantada na haste. No início do relato, fora instrumento de castigo expresso na mordedura que causou muitas mortes; no fim, torna-se sinal de salvação. Assim, mediante o sinal, o mesmo Deus que castiga é o que está sempre pronto a oferecer uma nova chance àquele que volta seus olhos para Ele. Palavras-chave : Exegese. Números. Símbolo. Serpente. Conflitos.The pericope of the wilderness’ snakes is highlighted in the set of writings using the symbol of the serpent, for this symbol is potentially doubtful to the faith of Israel, ambivalent. Therefore, this paper aims to comprehend the symbolism of the serpent in Numbers 21,4-9, through a text analysis and a study of the possible influence of Egyptians and the nations from Ancient Near Eastern. The narrative analysis highlighted the text as a plot of conflict-solution in the drama lived by the people. In that conflict approach, it was considered the anthropological and cultural features of the serpent symbolism and its theological range. The interpretation favored the comprehension of the pedagogic dimension of God before the necessity of people’s conversion, once they were in the final stage of the wilderness’ pilgrimage, being about to enter at the land of Canaan. In line with the economy of revelation, the author gives a new meaning to the serpent raised in the rod. In the beginning of the report, it was an instrument of punishment expressed in the bite that caused a lot of deaths; at the end, it becomes a sign of salvation. Thus, through this signal, the same God who punishes is the One who is always ready to offer a new chance to those whose eyes turn upon Him. Keywords : Exegesis. Numbers. Symbol. Serpent. Conflicts. (shrink)

This article departs from the consideration that global communication is not only a reality but also a challenge. This is because most of our communication does not involve dialogue but remains mere communication without achieving the creativity implied in true conversation. Departing from Gordon Pask’s warning, in 1980, that too much togetherness would be hazardous in future information environments, this article proposes a playful displacement of images – from network to lacework. The aim is to help us refine our gaze (...) into the interconnectedness of the world, or at least, into the intricacies of our contemporary culture and its global communication. The idea is that by using lace as an inspirational image we may go beyond the hazards of uniformity and triviality of our excessive togetherness. By doing so, we would allow space for a variety of local patterns of dialogues, articulated around unspoken tensions and thus, allowing the emergency of genuine conversation. (shrink)

Increasing farmers’ acceptance and adoption of environmentally beneficial farming practices is essential for mitigating negative impacts of agriculture. To support adoption through policy, it is necessary to understand which types of farms or farmers do or do not apply such practices. However, farmers are not a homogeneous group and their behavior is subject to a complex array of structural, socioeconomic, and socio-psychological influences. Reducing this complexity, farmer typologies or archetypes are useful tools for understanding differing motivations for the uptake of (...) sustainable farming practices. Previous investigations of the role of farmer archetypes in the adoption of such practices rely on either purely qualitative or purely quantitative methods in data collection, typology creation, and hypothesis testing. Our study combines both approaches by classifying survey respondents into farmer types based on a previous Q methodological study. We then use these types in a two-part regression model that aims to explain participation in agri-environmental schemes and the level of scheme participation. To control for farm structural factors, we additionally link our questionnaire data to secondary data from the farm accountancy data network. Results indicate that in Austria, AES are attractive to all types of farmers, but the level of participation in these schemes differs between archetypes: Profitability-oriented farmers participate less, and nature-oriented farmers participate more than other types. This suggests that monetary compensations for sustainable farming practices are not perceived as sufficient by certain groups of farmers, and policy makers need to consider additional kinds of incentives. (shrink)

The purpose of this communication, written on May 18th, 2018 at the National Shrine of Aparecida, during the XII Mariologycal Congress, is to present a "theological restoration" of the image of Our Lady of the Conception Aparecida, through an ecclesiological perspective, from a symbolic, biblical and pastoral re-reading, of the elements present in the found of its image and the meaning of the image itself, in order to, by its iconography, extract a significant message about the mystery of the Church (...) that has the Virgin Mary as Mother, Member and Model. (shrink)

The Master from Mountains and Fields is a fully annotated translation of the prose texts from the "collected works" of Sŏ Kyŏngdŏk (1489-1546), an influential Confucian scholar from the early Chosŏn period (1392-1910). A native of Songdo (also known as Kaesŏng) in present-day North Korea, Sŏ has loomed large in the Korean cultural imagination and appeared as an exceptional sage and popular hero in numerous tales, dramas, and films, yet his writings are little known outside the academic milieu. Also called (...) Master Hwadam, Sŏ embodied an archetype of the secluded scholar who remains hidden in "mountains and forests" to devote himself to his studies. Held in esteem in both South and North Korea today (a notable exception in contemporary studies on Chosŏn Neo-Confucianism), Sŏ and his ideas about Vital Energy influenced the great Korean Neo-Confucian debates of the sixteenth and seventeenth centuries surrounding the psychophysiological origins of morality as well as various non-orthodox intellectual trends in the late Chosŏn. His thought is fundamentally rooted in the cosmology based on the exegesis of the Book of Changes and follows the teachings of various early Chinese Neo-Confucian thinkers; it presents a vivid example of the eclectic nature of ideas and intellectual trends coexisting within what is generically called Neo-Confucianism out of convenience. This volume presents the first English translation of all prose writings attributed to Sŏ and most of the peritexts from his posthumously published collection Hwadam chip. It reflects the importance of literary compilations (munjip) in the intellectual history of Chosŏn and the complex process of the making of Confucian masters in Korea. Sŏ's prose works are concise and diverse and offer a glimpse at an author who thwarts stereotyping; an introduction and annotations provide further context. The lengthy endnotes that accompany each text make this a useful handbook for anybody interested in Chosŏn Korea and Confucianism, from students in East Asian and Korean studies to specialists in literary Chinese (hanmun) or East Asian intellectual history. (shrink)

This article presents a study on the dialogue between the ideas and the aesthetics of Augusto dos Anjos. What is meant to be postulated is that the Paraiba’s poet puts his vigorous aesthetic to the service of ideas that were expurgated from the literary and academic scene under the label of vitalism, in favor of the hegemony of mechanism. Aesthetic images, the use of a nearly completely denotative scientific language, and morbidity, as paroxysms of this aesthetic project are not really (...) an isolated initiative of the poet, but not even his contemporaries understood the greatness of his project and how it was neces-sary, to accomplish it, that he raises his poetics to an unusual aesthetic level. Augusto dos Anjos, even on the fringes of the elitist epicenter of Ouvidor Street (where his accent and his color would have no place), succeeded in constructing a true poetics of denotation that became one of the most radical bulwarks of a literature that, by yours hands, entered modernity. Keywords: Augusto dos Anjos. Vitalism and mechanism. Denotation. Scientific poetry.1 Introdução1.1 Do propósitoNeste artigo pretendemos dissertar sobre um aspecto da poética diversificada de Augusto dos Anjos. Motiva esta pesquisa a observação de que sua obra ensejou interpretações controversas entre os estudio-sos, sobretudo quanto à uma categorização de ordem taxonômica, que a dispusesse sob o rótulo de um estilo. De fato, o Eu (1912), essa obra única de Augusto dos Anjos, é rica em elementos característicos de várias escolas e de diferentes estilos literários, e tais elementos são, não raro, antagônicos. Transitam pela poética de Augusto dos Anjos o Simbolismo, o SEÇÃO: ENSAIOSA ciência da poesia da ciência em Augusto dos AnjosThe science of science’s poetry in Augusto dos Anjos . (shrink)

RESUMO Trata o presente artigo de um estudo sobre o modo como Merleau-Ponty busca extrair, da teoria freudiana dos sonhos, consequências ontológicas concernentes à vinculação expressiva entre as diferentes dimensões da experiência onírica, especificamente sobre o papel dos restos diurnos na descarga da libido, na realização do simbolismo ou, o que é a mesma coisa, na conversão do simbolismo em algo narrativo e sensível, especificamente afetivo. Conforme se mostrará, para Merleau-Ponty, seja no sonho sonhado seja no sonho relatado (...) podemos verificar, entre a dimensão imaginária introduzida pelos restos diurnos, por um lado, e a dimensão simbólica expressa como significante esquecido, por outro; uma sorte de unidade sem coincidência, uma indivisão meramente expressiva. A pergunta deste artigo é ‒ do ponto de vista ontológico ‒ de que modo a indivisão expressiva entre o sonhado e o relatado dispensa o recurso à ideia de uma interioridade transparente? ABSTRACT This article deals with a study on how Merleau-Ponty seeks to extract, from Freud’s theory of dreams, ontological consequences concerning the expressive link between the different dimensions of the dream experience, specifically on the role of daytime remains in the discharge of libido, in realization of symbolism or, what is the same thing, in the conversion of symbolism into something narrative and sensitive, specifically affective. As it will be shown, for Merleau-Ponty, whether in the dreamed dream or in the reported dream, we can verify between the imaginary dimension introduced by the daytime remains, on the one hand; and the symbolic dimension expressed as a forgotten signifier, on the other; a sort of unity without coincidence, a merely expressive indivisibility. The question of this article is - from an ontological point of view - how does the expressive division between the dreamed and the reported dispense the recourse to the idea of a transparent interiority? (shrink)

Le mythe participe à la fois du vécu et du réel transcendés par le symbole, qui fait appel autant au visible qu’à l’immatériel. Exprimant une fiction selon certains, ou des vérités profondes pour d’autres, il traduit des croyances sur la cosmogenèse et l’anthropogenèse. Il a pour objet de dévoiler un mystère, et l’événement fondateur du cosmos et de l’humain.Le symbole, dans sa moitié signifiante, est toujours lié au concret, c’est-à-dire au matériel, au visible et au fini. Selon Paul Ricœur, un (...) symbole possède trois dimensions concrètes : cosmique, onirique et poétique. L’autre moitié du symbole exprime la part d’invisible et d’immatériel qui a sa logique propre. Mêlant la perception sensorielle à l’immatériel et au mystère, les mythes canaques précoloniaux traduisent aussi bien la réalité descriptive du monde visible, que la création de mondes imaginaires. Nous analyserons dans l’oralité canaque ces deux notions et leurs applications dans les domaines de la nature, de l’humain et du sociétal. Nous verrons comment s’articulent le visible et l’invisible dans le mythe canaque, quelle est la place respective du réel et de l’imaginaire impliqués dans chaque mythe, et leurs fonctions respectives. Sont-ils oppositionnels comme l’indique leur définition, ou bien forment-ils un ensemble de termes indissociables et complémentaires? Nous déterminerons in fine quelles sont l’interférence et la corrélation du réel et de l’imaginaire dans les fonctionnalités qui confèrent leur originalité aux mythes canaques. A myth is involved in both the living and real transcended by the symbol that appeals as much to the visible than the intangible. Expressing fiction for some, or deep truths for other, myth reflects beliefs about cosmogenesis and anthropogenesis. It aims to unveil a mystery, and the founding event of the cosmos and the human.The symbol, in its signifying half, is always linked to the concrete, i.e. the material, visible and finish. According to Paul Ricœur a concrete symbol has three dimensions: cosmic, oneiric and poetic. The other half of the symbol expresses the invisible hand and intangible that has its own logic. Combining sensory perception to the immaterial and mystery, precolonial Kanak myths reflect both the descriptive reality of the visible world, and the creation of imaginary worlds. We will analyze in Kanak orality these two concepts and their applications in the fields of nature, human and societal. We’ll see how articulate the visible and invisible in the Kanak myth, what is the respective role of the real and the imaginary involved in each myth, and their respective functions. Are they oppositional as indicated by their definition, or do they form a set of interrelated and complementary terms? We shall determine in fine which are the interference and the correlation of the reality and the imagination in the features which confer their originality on the Kanak myths. (shrink)

ABSTRACT This article aims to discuss the meaning of context in the works of Bakhtin and the Circle. The research corpus consists of works signed by Vološinov, Bakhtin and Medvedev published in Brazil. We set an image related to a space of creation and cocreation where discursive, ideological, cultural or artistic modes of communication exist. Results show four types of contexts: the context of the utterance in the speech communication mode of which borders are locutor and interlocutor; the unique and (...) singular context in semiotic communication mode of which borders are active comprehension and evaluative intonation; the aesthetic context in the artistic communication mode of which borders are author and contemplator in a work of art, author and characters in the novel and lyric hero and his/her other in poetry; and the extraverbal context in the cultural communication mode of which borders are a “I-we” and the event of Being. RESUMO Este artigo objetiva tratar do sentido de contexto em obras de Bakhtin e o Círculo. O corpus de pesquisa são as edições das obras assinadas por Volóchinov, Bakhtin e Medviédev publicadas no Brasil. Partimos de uma imagem recorrente sobre um espaço de criação e cocriação na produção de sentidos, identificado como comunicação discursiva, sígnica, cultural ou artística. Os resultados demonstram quatro tipos de contextos: o contexto do enunciado na comunicação discursiva cujas fronteiras são locutor e interlocutor; o contexto único e singular na comunicação sígnica tendo como fronteiras a compreensão ativa e a entonação avaliativa; o contexto estético presente na comunicação artística cujas fronteiras são a relação entre autor e contemplador de uma obra de arte, autor e personagens no romance e herói lírico e seu outro na poesia; e o contexto extraverbal na comunicação cultural cujas fronteiras são um ‘eu-nós’ e o acontecimento da existência. (shrink)

The Milesian protophilosophy was an important phase in the development of Western thought. The first philosophical ideas of the origin and the nature of the world arose from the mythological images. The author tries to show, that the Milesian conceptions do not draw on the particular Greek myths, but on the archaic mythology embodying various mythological motives - the archetypes. The latter emerge spontaneously from human unconciousness and become a part of consciousness. Thales' idea, that "water is the origin of (...) all tings... and therefore the earth floats on water", is the expression of mythical experience based on the archetype of chaos. Its archetypal image is "the primal water" as the source of the arising world. Similarly there is an analogy between Anaximander's apeiron and the archetype of chaos. The transition from the mythical-imaginative thought to rational and abstract one is represented also by Anaximenes, who also makes use of various archetypes . The mythical-imaginative thought differs from rational conceptual thought in that in the former the part is identical with itself as well as with the whole, while in the latter the relationship between the part and the whole is dichotomical. The Greek thought developes into a purely dualistic way of thinking, which is fully manifested in Parmenides. (shrink)

The rational conceptual philosophical thinking originated in ancient Greece on the basis of mythical imaginary thinking. The bipolar-complementary thinking still had its place in Miletian philosophy, although not in the form of images, but in the form of conceptual variants and archetypal representations of archaic ontology. The Dyonisian cult and orfism contributed to the development of rational thinking through the realization of the individuality and the notion of the only genuine divinity - Zeus, which at the same time embodied (...) the whole universe. On the basis of these ideas Xenophanes built up his conceptual image as the fixed and the only essence of the universe, and Pythagoras his conception of fixed and unchangeable numeral essences. Then came Parmenides, who founded the metaphysics through the determination of the duality of One and Many, the being and the non-being. It was a dichotomic break and turning away of the bipolar-complementary thinking from the dualistic type of thinking. This author's claim is supported by Parmenides criticism of his predecessors. Parmenides elevated the Being to a "pure concept" or abstraction. This radical turn in the history of Greek thinking meant not only the dismissal of the previous philosophical views, but also the beginning of the rational abstract thinking on the basis of logical laws, namely the law of excluded middle and the law of contradiction. (shrink)

El presente estudio se propone mostrar la capacidad de la mente creadora, su eficacia prospectiva, que posibilita que la realidad humana sea una realidad exuberante y abierta. Nos adentramos en el trayecto antropológico de lo imaginario para descubrir la potencia simbólica, esa fuerza impulsora de la imaginación que la convierte en la estructura constituyente de la vida psíquica y la creatividad. The aim of this paper is to show the capacity of creative mind, its prospective efficacy, which enables human reality (...) to be an open and exuberant reality. We enter in the anthropological journey of the imaginary order to discover the symbolic power, that driving force of imagination that makes of it the basic structure of psychic life and creativity. (shrink)

Bafomé, a mais duradoura criação do escritor Éliphas Lévi, é um ícone do universo esotérico: é a imagem “satânica” mais conhecida da história. Na tentativa de desvendar a sua rica composição simbólica, uma exegese iconográfica será conduzida por intermédio da psicologia analítica, fundada pelo psiquiatra suíço Carl Gustav Jung. As origens de Bafomé na alquimia, na cabala e no gnosticismo serão perscrutadas e os conceitos Junguianos do inconsciente coletivo e dos arquétipos irão, em grande parte, balizar a interpretação proposta neste (...) trabalho. Tal análise será dividida em oito subáreas, entre elas: o significado do seu aspecto animalesco na escatologia cristã, o hermafroditismo na psicologia e nas ciências arcanas, as qualidades mágicas do pentagrama e a importância hermética do caduceu. Por fim, conclui-se que o Bafomé é um símbolo de self, o arquétipo da totalidade psíquica. Bafomé tem por finalidade ser uma alternativa à imagem primordial cristã de autorrealização, mais integradora e menos repressora que esta. Palavras-chave: Alquimia. Cristianismo. Magia. Psicologia junguiana. Religião e psicologia.Baphomet, the lasting creation of the French writer Éliphas Lévi, is an icon of the esoteric universe: it is the history’s best-known “satanic” image. In an attempt to unravel its rich symbolic composite, an iconographic exegesis will be conducted through the use of analytical psychology, founded by the Swiss psychiatrist Carl Gustav Jung. The origins of Baphomet in alchemy, Kabbalah and Gnosticism will investigated mostly through the application of Jungian concepts such as the collective unconscious and the archetypes. Such analysis will be divided into eight sub-areas, including: the significance of his animal appearance in Christian eschatology, hermaphroditism in psychology and the arcane sciences, the magical qualities of the pentagram and the importance of the caduceus in hermetism. Finally, we conclude that Baphomet is a symbol of the self, the archetype of psychic wholeness. Baphomet aims to be an alternative to the Christian primordial image of self-realization, more inclusive and less repressive than the latter. Keywords: Alchemy. Christianity. Jungian psychology. Magic. Religion and psychology. (shrink)

Neste artigo, pretende-se interpretar a posição de Taylor sobre a situação da sociedade contemporânea secular a partir do seguinte itinerário: (1) discutindo em grandes linhas sua concepção filosófica da multiculturalidade de nossas sociedades atuais, (2) propondo uma narrativa que aponte para uma interpretação do imaginário social multicultural e secularizado, e finalmente (3) apontando para o lugar da racionalidade filosófica neste percurso. A análise se faz tendo em mente que a coexistência cada vez maior de pessoas, grupos e comunidades, com (...) tradições étnicas, culturais, linguísticas e religiosas das mais diversas, que partilham um mesmo espaço geográfico, é uma das principais características de nosso mundo globalizado. Por um lado, nessa configuração multicultural, é cada vez mais universal a consciência de que viver em comum no mundo é, também, partilhar um destino coletivo onde os efeitos sócio-culturais da globalização transformam nossos esquemas mentais e nossas formas de vida social. Por outro lado, a possibilidade de uma convivência harmônica em uma mesma sociedade de indivíduos, grupos e comunidades com cosmovisões diferentes coloca-se como desafio ainda não de todo equacionado. Palavras-chave: Imaginário. Secularização. Taylor.This article examines Taylor`s viewpoint on the situation in contemporary secular society from the following itinerary: (1) discuss his philosophical conception of multiculturalism in our societies today, (2) propose a narrative that points to an interpretation of the social, multicultural and secular imaginary, and finally (3) points to the place of philosophical rationality in this route. This analysis assumes the coexistence of individuals, groups and communities, with their ethnic, cultural, linguistic and religious traditions that share the same geographic space and is a major feature of our globalized world. On the one hand, within this situation, the consciousness that live together in the world means sharing a collective destiny where socio-cultural effects of globalization transform our mental schemes and also change our forms of social life. Moreover, the possibility of a harmonious coexistence in a society of individuals, groups and communities with different worldviews is a challenge still not entirely solved. Key words: Imaginary. Secularization. Taylor. (shrink)

Mythopoetry, the imagistic voice of the muses which manifests in myth and natural poetry, has been invoked as an impression of ideal curriculum with which to cherish intimate, vital experience (and to oppose its exile from educational life). In this statement, I intend to see through the pleasant surface of the label, mythopoetry, to see what image may lie just out of sight, beyond the "inspired writing" that mythopoetry implies. Beyond words themselves, meaning is found in sound and in expressive (...) representation. “Music, when soft voices die, / Vibrates in the memory” (Shelley). (shrink)

The two mythical tales from the Samguk yusa, “Lady Suro” and “Monk Hyet’ong Defeats the Dragon” reveal the little-known evil character of the Korean dragons. The second story presents a particular scene of a confrontation between a hero and a malicious dragon; this story leads us to reflect on the question of the symbolism of evil embodied by the Dragon who has a vengeful character. The dragon symbol and its semantic variations were constructed specifically within the singular Korean (...) context and cannot be limited to Chinese Buddhist heritage. (shrink)

Análisis de un corpus de textos míticos relatados por exmineros de la zona del carbón de la Región del Biobío (Chile). En primer lugar se observa en los textos seleccionados (casos y leyendas) la memoria sensorial como proceso de actualización psicológica cognitiva y semiótica. En segundo lugar se analizan los discursos míticos desde dos perspectivas: la teoría semiótica de los signos naturales de Umberto Eco y la semiosis de Charles Morris. Finalmente, el trabajo aporta diferencias estructurales entre estas dos superestructuras (...) discursivas orales utilizadas por los informantes: el caso y la leyenda. This article is related to the field of oral literature. It is focused on a theoretical and analytical approach in the corpus of mythical texts narrated by former miners from the Coal District of the Bío-Bío Region (Chile). Firstly, sensory memory is found in the texts as a process of updating (cognitive and semiotic psychology). Secondly, the mythical discourses are analyzed from two perspectives: the semiotics theory of natural signs of Umberto Eco and the semiosis of Charles Morris. Finally, this work shows structural differences between these two superstructures used by the informant miners: the case and the legend. (shrink)

ABSTRACT: This paper underlines the relationship between rhetoric and postmodernism. In lack of a unique definition, postmodernism is seldom described as a non-centred set of rhetorical, critical and discursive practices; rhetoric offers a fertile frame for the interpretation of postmodernism. In my approach, I analyze both the type of rhetoric through which we can grasp the current of postmodernism and the use of rhetoric inside the postmodern discursiveness. The former was born out of its relationship with modernism and from this (...) standpoint I am interested in investigating the rhetorical relevance of themes such as rupture, continuity, palimpsest, anamnesis, incompleteness. The latter is discussed mainly by focusing on the effects of the repositioning of rhetoric in postmodernism. These analyses create a cluster of motifs that constitute the nucleus of the contemporary rhetoric imaginary. RESUMO. Este trabalho evidencia a relação entre a retórica e o pós-modernismo. Na ausência de uma definição única, o pós-modernismo é muitas vezes como sendo um conjunto não centrado de práticas retóricas, críticas e discursivas. Dessa maneira, a retórica oferece um ambiente fértil de uma adequada interpretação do pós-modernismo. Dentro da minha abordagem, analisei tanto o tipo de retórica através do qual podemos entender o movimento pós-moderno, quanto o uso de retórica dentro da discursividade pós-moderna. O primeiro tipo de retórica nasceu do relacionamento com o modernismo e, nesse contexto, é investigada a relevância retórica de alguns temas como a ruptura, continuidade, palimpsesto, anamnese, incompletude. O segundo tipo de retórica é investigado especialmente através da concentração sobre os efeitos do reposicionamento da retórica no pós-modernismo. Essas análises se amparam em um conglomerado de razões que constitui o núcleo do imaginário da retórica contemporânea. (shrink)

In recent years, the relationships between systems of symbolic representations and cities have given rise to an often rich and stimulating consideration among various specialists in human sciences, namely, historians, anthropologists, semiologists and sociologists, among others. Urban conglomerates can no longer be conceived as simple assemblages of more or less functional constructions. The city is as much a mental concept as it is a physical reality. It is made up of images that give it a meaning. It does not exist (...) independently of the sum of subjective interpretations that are continually made by its inhabitants. Our Western perception of the city may be influenced by romanesque literature or the memory of a painting, in other words, by imaginary worlds. It varies according to individual memory: each of us is attached to the different urban spaces of his souvenirs, emotions arising from family history or the duration of a lifetime. These personal projections are all the more important because they command a certain number of daily actions and furnish a framework of orientation to every citizen. They contribute to giving a moral quality to urban space and transform physical objects into concepts, into more or less determined signs. (shrink)

The article reveals the philosophical, worldview, aesthetically-axiological aspects of considering the universe as a symbolic phenomenon of the postmodern era. It is emphasized that the analysis of beauty, as the basic category of aesthetics, needs to find out its aggregate nature, depending on the individual and social semantic characteristics of reality. One of the key points of such an analysis is its metaphysical problematic – the direct emergence of constructive emotion into the realm of the transcendental, namely, the view of (...) Man from the Universe from the standpoint of eternity. The timeliness and necessity of considering the problem of the symbolic context of the universe is obvious in the context of the third millennium, the realities of which call into question the very fact of conservation of wildlife on Earth. In the minds of assimilating the finality of the earthly boot, its primarity of progressive stochasticity, in the midst of the amplification of the eschatological context, the people of the era of postmodernity are demonstrating the development of the fastflowing, hardened nonsense. In the philosophical tradition, the symbol is the role of a pure "selfness", not tied to the powerful moment of the object: the symbolic picture does not reflect reality, as it is - the symbol of knowing the "refair" in the sphere of the virtual. It is proved that for the modern man the Universe is the object of not only scientific, technological, but also philosophical, cultural studies, it synthesizes for the unity of the object of scientific interest, a symbol of aesthetic pleasure and a source of formation of appropriate images and archetypes. (shrink)

O pintor tem espaço nos retábulos maneiristas, diminuindo o seu desempenho a favor do entalhador, à medida que o programa do Barroco Nacional se impõe na arte da talha. Em Portugal, nos séculos XVII e XVIII, definem-se os ofícios com fronteiras frágeis. Entalhador pode significar escultor, imaginário ou ensamblador – assim como o dourador é mencionado, muitas vezes, como pintor e estofador, numa polivalência artística notável. Cabe ao imaginário, na gramática barroca, apropriar-se dos espaços intercolúnios, entre outros, para (...) cumprir as encomendas dos santos em concordância com as determinações do Concílio de Trento.Os inventários, as Memórias Ressuscitadas de Entre-Douro-e-Minho (Francisco Craesbeeck, 1726), as Memórias Paroquiais de 1758 (A.N.T.T.) e um levantamento fotográfico privilegiam o percurso escultórico dos oragos e das invocações retabulares de templos no Baixo Tâmega e no Vale do Sousa. Neste sentido, pretende-se desenhar uma matriz dos espécimes mais recorrentes, estabelecendo assim a mancha das devoções nacionais nos concelhos de Amarante, Marco de Canaveses, Felgueiras e Penafiel. (shrink)

We will present the main characteristics of the decorative scheme from throne room in the palace of the Neo-Assyrian king Ashurnasirpal II, whose reign extended from 883-859 BC, located in the ancient city of Kalhu, now north Iraq. We consider decorative scheme to be the presence of images and texts in an architectural setting. We believe that the creation of the decorative scheme may be in some way linked to political projects, and therefore, it would be an expression of the (...) royal ideology and rhetoric. Throughout the analysis of the decorative scheme, aided by textual and material sources, we will try to put into evidence the main aspects of the imperial policy in vigour. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

La naissance du CRI à Grenoble doit être replacée dans le contexte intellectuel de la nouvelle critique des années 1960. Les trois courants dominants du matérialisme historique, de la psychanalyse freudienne et du structuralisme ont alors été dépassés par le CRI au profit d’un « nouvel esprit anthropologique » qui privilégiait la réalité sensible des images au détriment des idéologies réductrices. Les intellectuels des villes ont perdu le lien charnel avec une civilisation rurale et un mode de vie ayant façonné (...) notre langue, nos croyances et nos fêtes, ainsi que des artisanats séculaires. Le médiéviste peut encore retrouver le lien avec cette mémoire du temps. Mais s’il n’a pas conservé une âme païenne et un esprit paysan, il est condamné à la posture post-moderne. Penser la culture occidentale en contournant ou ignorant le Moyen Âge n’est qu’une imposture. Un exemple de longue vie des images montre l’importance des relais culturels qui relativise toute théorie préconçue des archétypes. The birth of the CRI in Grenoble is replaced in the intellectual context of new criticism of the 1960s. The three mainstream have been overtaken by the CRI in favour of a “new anthropological spirit” that emphasizes the sensible reality of images at the expense of reducing ideologies. The modern scholars of the cities have lost the carnal connection with a rural civilization and a way of life that have shaped our language, our ancient beliefs and feasts and also centuries-old handicrafts. The medievalist can find the link with this memory of time. But if he has lost a pagan soul and a spirit of peasant, he is sentenced to a post-modern posture. Thinking Western culture in bypassing or ignoring the middle ages appears like a mere sham. An example of long-life images stresses the importance of cultural relays against all preconceived theory of the archetypes. (shrink)

Who is Anonymous? What is the group’s connection with hacktivism? Can we speak of an Internet group consisting of new ‘e-Robin Hoods’? Do modern heroes still exist as a source of inspiration? The answers to these questions are not unproblematic. Many would say that the group Anonymous falls into the contemporary hero category. If so, its members, Anons, could be deemed ‘reincarnations’ of the mythical Robin Hood but in digital form, since they tackle corruption, repression, and injustice, as he (...) did. Others will disagree with this view. The only safe statement is that Anonymous constitutes a global, Internet-based social movement of mostly young and dissatisfied people who have decided to follow their own strategy to oppose established global governance and order. This paper sheds light on the latest hacking activity of Anonymous against several governmental websites in Greece. According to Anonymous, it sought to protect/defend Greek citizens suffering because of the financial crisis and to teach a ‘strong lesson’ to the elected politicians in office. Drawing on material from videos, online articles from Greek newspapers, and a few online articles from international media outlets, we attempt to understand whether Anonymous follows the long tradition of Robin Hood by acting as a heroic figure/icon. This paper contributes to the semiotics of hacktivism, but also to the further investigation of the identity of Anonymous as comprising ‘new Robin-Hoods’ based on its staged identity and actions. (shrink)

ABSTRACT In this paper, I argue that the idea of a universal history is systematically legitimized in Kant’s transcendental system of philosophy by way of the concept of a need [Bedürfnis] for pure practical reason. In this sense, the idea of a universal history is a fundamental part of the moral image of the world that emerges from Kant’s whole philosophy, and it is crucial for understanding both the possibility of the system of pure reason, as well the full development (...) of Kant’s moral philosophy, especially for political philosophy. RESUMO Nesse artigo eu argumento que a ideia de uma história universal é sistematicamente legitimada no sistema da filosofia transcendental de Kant por meio do conceito de precisão [Bedürfnis] da razão pura prática. Nesse sentido, a ideia de uma história universal é uma parte fundamental da imagem moral do mundo que emerge da totalidade da filosofia de Kant e é crucial para o entendimento tanto da possibilidade de um sistema da razão pura, quanto para um desenvolvimento completo da filosofia moral, particularmente para a filosofia política. (shrink)

Much more than their machinic reality, current iterations of AI rely on imagined divisions of human and non-human properties and skills that have genealogical ties to colonization. For this reason, research efforts have recently been made to historicize these imaginaries, connecting them to colonial ideals that delegate black and brown colonized people into the realm of the non-human. Atanasoski and Vora (Surrogate humanity. Race, robots and the politics of technological futures, Duke, Durham and London, 2019) have called this a “surrogate (...) humanity”, where narratives of autonomous technologies function to disappear precisely the formerly colonized peoples that are enveloped in its production process. At the same time, the gendered and racialized roots of this maternal figure represents an opportunity to uncover and critique the invisibilization of embodied resources necessary to produce AI, precarious bodies labouring to produce algorithmic infrastructures in a manner that can be considered in a genealogy of carework and reproduction. These genealogies complicate the detachment suggested by the surrogate figure and go beyond it to proclaim a more generative function of the relationship between the black maternal figure and AI. The article analyses Tabita Rezaire’s multi-media artwork Sugar Walls Teardom to think through decolonial and queer renderings of the black female bodies upon which technological imaginaries rest, to extend beyond AI surrogacy and towards notions of kinship, care and world-making by producing an AI aesthetics that is relational, embodied, and celebratory of other ways of liveness. (shrink)

The unity of Paul Ricœur’s philosophy can be restated using the question of the imagination as a guideline. Ricœur’s goal was to envisage the imagination not as a psychological faculty but as a semantic power. Metaphor and narrative allow us to see the real in a different way, hence to imagine it. The image has less to do with perception and concepts. It is the instrument that allows them to be articulated. This shift of the imaginary to the practical dimension (...) is confirmed in Ricœur’s theory of ideology and utopia. (shrink)

This article proposes to think about the Universal Church of the Kingdom of God religious services offerings from the merger of imaginary features representations of it time and context. While many are in charge to found new paths, Edir Macedo envisioned in already crystallized pedagogy of mental images and people representations his great discursive / theological contribution. Therefore, it was with the demonization of Umbanda and the management of sympathies, rites, blessings and exorcisms converted into sacred liturgies and confrontation with (...) their wichcrafts, to the transformation of their temples and services in major therapeutic/ spiritual spaces. From the mystical and religious imagery to the psychoanalytic rationalizing imaginary, the UCKG remain prosperous and professional in provide feedback on the imagination of its customers from the representations present in their own time setting. In a flexible way, the religious services of the UCKG are always in line with the demands of certain social groups, more precisely to those who are more sensitive to the use of the popular imagination outline as a complementary substance in the plausibility of everyday life. (shrink)

Este estudo incide sobre o primeiro estásimo da Antígona de Sófocles e procura analisar o seu significado. A questão a que tenta responder é a seguinte: que imagem do ser humano se encontra expressa nesta ode coral? Tal questão encerra várias outras: 1) Em, que sentido se diz que o homem é algo δεινόν – e mesmo até o mais δεινόν de tudo? 2) Qual a relação entre esta característica e o ser auto-inventado ou auto-inventor de que falam as três (...) primeiras estâncias deste estásimo? 3) Que significa exactamente παντοπόρος? É este conceito decisivo para se entender o ser humano? 4) É o homem efectivamente παντοπόρος? 5) Por que razão os anciãos de Tebas sustentam que, ainda que o epíteto “assente como uma luva”, παντοπόρος está longe de ser a última palavra sobre o ser humano? (shrink)

In medieval epics such as the Byzantine Digenis Akritis and the Persian Šāhnāme, dragons are usually considered to be mere opponents of the hero. But the symbolism attached to them is far from being exclusively that of a monstruous creature fighting a good hero. The motif of the three-headed dragon combines an allegorical meaning with a mythological framework. The confrontation between a dragon and an apparently weaker protagonist like a maiden or a younger son highlights the latters’ inner strength (...) and intelligence, while dangerously revealing the dragon’s possession of these human qualities. On an axiological level, the dragon’s symbolism displays the same variety: the dragon is a malevolent creature, and the archetype of the enemy, but also serves as an auxiliary to sound out men’s hearts, as in Fereydūn’s trial of his three sons. The dragon furthermore symbolizes power when painted on banners. When united to its celestial foe, the dragon’s lineage leads to the birth of the greatest hero of the Persian epic, Rostam. Thus the dragon ultimately guarantees the world’s balance between good and evil. (shrink)

The article considers the interpretation of the culture and philosophy of Ancient Egypt and Babylon in the texts of writers of the late nineteenth–early twentieth centuries. This topic was highly important and widely discussed in connection with the outstanding discoveries of archaeological expeditions in the 1900–1920s in the Valley of the Kings on the Nile. In his treatise “Tajna trekh: Egipet i Vavilon”, Dmitry Merezhkovsky, referring to religious views of the previous eras, attempted to find an ideological synthesis that could (...) unite and reconcile people in the hard times of wars and revolutions. Alexander Chayanov in his story “Puteshestvie moego brata Alekseia v stranu krest’ianskoj utopii” turned to the biblical symbolism of the Tower of Babel which sought to overcome, as it were, the chaos that engulfed society—to give a warning against rash prometheistic ideas. He examined the ability of man to fight against the power of fate, to remain true to himself and to his ideas. In his mystical stories there can be traced allusions to the mysteries of the goddess Isis. Their heroines bear chthonic features. Chayanov examined how the feeling of love can destroy or revive the hero depending on his integrity and readiness to undergo evolution in order to find harmony. (shrink)

Not understanding that doing nothing can be much more preferable to doing something potentially harmful. Recent developments in cognitive science have highlighted the power that stories, metaphors, and archetypes have on human thinking. In fact, to a large extent they are our thinking. Consider the archetypal image of the young adult male hero. He is brave, active, adventurous, innovative, knowledgeable, clever, confident, independent, in control, and not constrained by family, tradition, or public opinion. He is a character that appears in (...) myths, in histories of conquest and discovery—from Odysseus to the Medusa-slayer, the.. (shrink)

The study will focus on the relationship between the representations of God’s image in the Bible and on film. How is transcendence presented and what is Christology like in film production in the time that is either negligent of the religious and the transcendental or tries to reduce it to a matter of human intellect? How does Christ differ in the films by Pasolini, Zeffirelli and Gibson? Can Jesus Christ the Saviour be replaced by a popular action movie hero? The (...) paper will deal with religion from another perspective, namely, it will try to see whether religion has truly disappeared from the public life as it is sometimes assumed. How were the ideas about God used or misused by some politicians and leaders, such as Osama bin Laden, Saddam Hussein, and George W. Bush? What to do if the media enable us to perceive how religion is made political and how politics is made religionist? (shrink)

ABSTRACT Based on the statements that the word in interaction manifests itself as an ideological sign, oriented to a precise social audience, circumscribed in a given historical time; that race is a language and that geographic displacement involves a clash between different systems of meaning, I interpret data from the cultural translation process for the term black [negro, in Portuguese], based on the enunciations of two Portuguese language learners in a course for immigrant mothers held in Southern Brazil. The data (...) presented were generated as part of an ongoing ethnographic investigation.1 The discussion points to controlling images that persist in the social imaginary from effacement procedures, discursive whitening and hypersexualization of the term negro [black]. Data also reveals that the processes of attributing meanings around race are in full dispute in the current socio-historical context. RESUMO Partindo das premissas de que a palavra em interação manifesta-se enquanto signo ideológico orientado a um auditório social preciso, circunscrito a um dado tempo histórico; de que raça é uma linguagem e de que o deslocamento geográfico envolve um choque entre diferentes sistemas de significação, interpreto dados do processo de tradução cultural para o termo negro, a partir de enunciações de duas aprendizes de língua portuguesa de um curso para mães imigrantes realizado no sul do Brasil. Os dados apresentados foram gerados no âmbito de uma investigação etnográfica em curso1. A discussão aponta para imagens de controle que persistem no imaginário social, a partir de procedimentos de apagamento, de branqueamento discursivo e de hipersexualização do termo negro. Os dados revelam, ainda, que os processos de atribuição de sentidos em torno de raça encontram-se em plena disputa no contexto sócio-histórico atual. (shrink)

No momento em que oposições seculares – tais como real versus imaginário, razão versus mito, inteligível versus sensível, vida mental versus vida material – se encurtam e o poder passa a ser exercido não só pela coerção material, mas também pela dominação simbólica, percebe-se que, cada vez mais, procura-se conciliar razão e imaginário. Entende-se, assim, que a tradição é mantida através dos mitos e das lendas. O que se deseja, realmente, é manter-se o passado dentro do futuro. A (...) sociedade tem, como objetivo, o futuro. Entretanto, ela se mantém sob as regras do passado. O imaginário é sempre, em certa medida, imitação do passado, mas é uma imitação deformada pelo próprio mecanismo de projeção, que mais não pode fazer a não ser transformar os preceitos, as estruturas adquiridas pelas aprendizagens adaptativas, suprimindo-lhes outros preceitos e outras estruturas, condicionando-os a tornarem-se, sem apelo nem agravo, diferentes daquilo que são. A criança não está livre desse processo. Constantemente ela é bombardeada pelas imagens publicitárias, cinematográficas e televisionada, além das várias modalidades de Literatura que permeiam o seu cotidiano. Palavras-chave: Literatura fantástica; Infância; Imaginário e religião. ABSTRACT In a moment when secular oppositions curtail (such as the real versus the imaginary, reason versus myth, the intelligible versus the sensitive, mental life versus material life) and power comes to be exerted not only through material coercion but also through symbolical domination, one notices a growing tendency towards conciliating reason and the imaginary. Thus, tradition is kept through myths and legends, as the aim is really to hold the past inside the future. Society aims at the future. However, it keeps the rules of the past. In a way, the imaginary is always an imitation of the past, but an imitation deformed by its own projection mechanism, which cannot but transform precepts and frameworks acquired through adaptive learning, suppressing other precepts and frameworks and conditioning them to become different from what they are. The child is not free from that process, being constantly exposed to publicity, cinema and television images, besides the various kinds of literature that permeate his daily life. Key words: Fantastic literature; Childhood; The imaginary and religion. (shrink)

Resumo: Palavras-chave: : Keywords: The wizard of Oz . Genre. Child reader. The wizard of Oz , by L. Frank Braum, in despite of having been written in the late XIX century, remains performing an important role in the children imaginary after a hundred years. Centered on the feminine character the text deconstruct traditional fairy tells stereotypes when relativizes the witch role, which can be good or bad, and also guarantees a hero status to a female child book character. In (...) this perspective the paper intends to discuss which genre representation is taken by female characters based on feminist critic studies. O mágico de Oz. Gênero. Leitor infantil. O mágico de Oz, obra de L. Frank Baum, muito embora tenha sido escrita no fim do século XIX, permanece atuando sobre o imaginário infantil cem anos depois. Centrado na personagem feminina, o texto não só desconstrói os estereótipos do conto de fadas tradicional, ao relativizar o papel da bruxa, que pode ser boa ou má, como também garante o estatuto de herói para uma personagem infantil do gênero feminino. Nessa perspectiva, este trabalho pretende discutir qual é a representação de gênero veiculada pelas personagens femininas, fundamentado em estudos de crítica feminista. (shrink)

Jung trata do problema do mal enquanto médico-analista que utilize métodos empíricos. O seu ponto de partida consiste básicamente na tomada de consciência da sombra, ou seja, dessa parte essencialmente inconsciente da psique e recalcada pelo eu consciente. Ampliando o conceito de sombra até ao arquetípico e transpessoal, Jung propõe conceitos de índole transcendental. Ele atreve-se igualmente a criticar a imagem de Deus na tradição judaico-cristá. A sua linguagem metafísica reduz-se por vezes a certas formas de explicar o conceito do (...) arquétipo do Si-mesmo, o que por vezes não sepode distinguirde uma tomada de posição filosófico-teológica. O exemplo do seu diólogo com o dominicano Victor White mostra a importância de distinguir categorias ejogos de linguagem na reconstrução filosófica do pensamento junguiano. /// Jung deals with the problem of evil as an analyst-physician who makes use of empirical methods. His starting point is basically the awareness of the shadow, that is, from the essentially unconscious part of the psyche and rejected by the conscious I. Extending the concept of shadow to the archetype, transpersonal, Jung proposes concepts of transcendental nature. He also dares to criticize the image of God in the Judaic-Christian tradition. His metaphysical language sometimes comes to some ways ofexplainig the concept of the Oneself archetype, and sometimes cannot be distinguished from the taking of a philosophical-theological position. The example of his dialogue with the Dominican Victor White points out the importance of distinguishing categories and language games in the philosophical reconstruction of the Jungian thought. (shrink)

Partimos do pressuposto que a arte é a revelação da profundidade do ser humano e que manifesta a sua busca pela verdade e pelo sentido de sua existência. O nosso objetivo foi descrever os fundamentos da arte barroca na consolidação e na propagação de verdades religiosas e políticas. Teremos como principal referência a igreja barroca de Santo Antônio, componente do Centro Cultural de São Francisco, localizada na cidade de João Pessoa, no nordeste do Brasil. A metodologia utilizada foi a pesquisa (...) descritiva tendo como instrumento a análise textual discursiva por meio da qual fizemos uma breve recapitulação do contexto nascente do barroco na Europa. Em seguida, apresentamos as suas características e, por último, as suas peculiaridades no Brasil. Como primeiro resultado da pesquisa foi possível considerar o barroco e o seu imaginário como fontes de verdade, superando a lógica binária do terceiro excluído, e, reconhecendo que o barroco funcionou como amálgama da sociedade colonial brasileira por meio das práticas religiosas e das vicissitudes políticas. Palavras-chave : Barroco. Política. Imaginário. Arte.We assume that art is the revelation of the depth of the human being and it expresses the human search for truth and meaning of the existence. This text aims to describe the basis of Baroque art in the consolidation and spread of political and religious truths. We will have as main reference the baroque church of St. Anthony, a component of the Cultural Center of San Francisco, located in the city of João Pessoa, in northeastern Brazil. The methodology used was descriptive and textual analysis as a tool through which we did a brief recapitulation of the context of the nascent Baroque in Europe. Then, we will present the characteristics of Baroque and finally its peculiarities in Brazil. As a first result of the research it was possible to consider the Baroque and its imagery as a source of truth, overcoming the binary logic of the excluded middle, and, recognizing that Baroque functioned as the amalgam of the Brazilian colonial society through religious practices and political setbacks. Keywords: Baroque. Politics. Art and Imagination. Setbacks. (shrink)