In this paper we deal with a classical question of western philosophy: Is it possible to know that there are things which do not exist? We begin with a brief analysis of some fragments of Parmenides, and later we study whether these arguments are valid using three kinds of epistemic logic: a classical style epistemic logic, where axiom holds, a free epistemic logic, where this axiom does not hold, and finally, we study Lenzen's proposal of using two kinds of quantifiers: (...) possibilistic and realistic quantifiers. We conclude that the last last one is the closest to our intuition and a good way to deal with this kind of problem. (shrink)

Fanny Bré was a volunteer nurse in the International Brigades, who fought in the Spanish Civil War (1936–1939) on the side of the democratically elected Republican government. The objective of this study is to understand the relationship between Bré's antifascist ideas, her conception of care and the activities she carried out in the Spanish hospitals of Casa Roja (Murcia), Villa Paz (Selices, Cuenca) and Vic (Barcelona). We use narrative biography to describe Bré's personal, political and professional trajectory. To do so, (...) we conducted a content analysis of primary sources archived in Spain, Russia and France and secondary sources that emerged from a thorough literature review. We identified three thematic axes: (1) a concept of nursing in the service of the antifascist struggle, (2) nursing activity for high‐quality care and (3) political action for improving hospital organisation and care. The interest of Bré's texts transcends the war in Spain because, in them, Bré questions the neutrality of care by revealing that care can itself be a political act. (shrink)

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Resumo: É conhecida a importância fundamental de Shakespeare para as artes e para o debate estético alemão nos séculos XVIII e XIX. O drama de Shakespeare foi apontado entre os alemães como uma verdadeira revolução cultural, o exemplo do gênio original em que deviam se mirar caso quisessem se desvencilhar das amarras do classicismo francês e desvendar sua própria originalidade. Este artigo pretende mostrar como Nietzsche dá continuidade a essa leitura ao apontar o drama shakespeariano também como um acontecimento que (...) tinha a importância de uma revolução cultural entre os alemães. Shakespeare era o “Sócrates musicante”, o sinal do despertar do gênio trágico em solo alemão.: Shakespeare's fundamental importance to the arts and to the German aesthetic debate in the 18th and 19th centuries is well known. The Shakespearean drama was pointed out among the Germans as a veritable cultural revolution, the example of the original genius in which they should follow if they wanted to break free from the bonds of French classicism and to unveil their own originality. This article aims to show how Nietzsche continues this tradition by pointing out Shakespearean drama as an event that had the importance of a cultural revolution among Germans. Shakespeare was the “musician Socrates”, the sign of the awakening of tragic genius on German soil. (shrink)