A pesquisa procura não só conceituar e expor a estética de Hegel, mas também elucidar seu pensamento referente à questão. Em suas palavras, estética seria o belo artístico, criado pelo homem. Nesse sentido, a ascendência da arte está na precisão que o homem tem de objetivar seu espírito, morfosiando o mundo e também se transformando. Assim, nas páginas que se seguem há uma exposição do conceito vulgar de estética em contraponto a visão hegeliana, para tanto, o filósofo cita a ascensão (...) e declínio do conceito de arte e estética buscando contextualizá-la enquanto função na história do homem. (shrink)

A pesquisa procura não só conceituar e expor a estética de Hegel, mas também elucidar seu pensamento referente à questão. Em suas palavras, estética seria o belo artístico, criado pelo homem. Nesse sentido, a ascendência da arte está na precisão que o homem tem de objetivar seu espírito, morfosiando o mundo e também se transformando. Assim, nas páginas que se seguem há uma exposição do conceito vulgar de estética em contraponto a visão hegeliana, para tanto, o filósofo cita a ascensão (...) e declínio do conceito de arte e estética buscando contextualizá-la enquanto função na história do homem. (shrink)

Na perspectiva de que nosso presente está construído sobre muitas injustiças, a pesquisa busca por meio de uma releitura da obra “Memórias de Auschwitz”: atualidade moral e política , de Reyes Mate, resgatar questões ligadas diretamente aos relatos dos sobreviventes, feitos a partir de um roteiro previamente estabelecido, cuja natureza, intenção e resultados são induzidos a questionamentos e reflexões. No limiar do trabalho há também um levante sobre a luz da ética e moral dentro das considerações a respeito das características (...) intrínsecas ao testemunho , e a de seu proferidor fundamentado nos testemunhos dos sobreviventes, não só pela veracidade da narrativa, mas principalmente sob a ótica e perspectiva sobre o quanto vale a sobrevivência, em razão da ideia de o que está em jogo é a humanidade. (shrink)

This article searches in this pages that follow to reflect on the uptake of symbols and meanings of texts from the perspective of the French philosopher Paul Ricoeur. For this, as foundation brings up the discussion of the elements that make up its hermeneutic phenomenology of associative manner, aiming, in turn, to go beyond the task of capturing the meaning of texts and symbols. Thus, the research notes that the philosopher seems to want to apply a legitimate effort in understanding (...) ourselves and, above all, in the world. However, this perspective, it is not easy to see relations between understanding and explanation, since his own notion of text has a certain recovery of the meeting remain regarding how to cope with such relationships. Finally, this article argues through existential notions, the ricouerian hermeneutical defense of philosophy as enlightening function, then going to be an attempt at expression and proclamation of the sense of the unsaid. (shrink)

Fábio Alves dos Santos (1954-2013) cursou Pedagogia, Ciências Sociais e Teologia, era Especialista em Filosofia da Religião (PUC Minas), Advogado (PUC Minas) e Mestre em Direito Constitucional (UFMG). Lecionou na PUC Minas como professor de Cultura Religiosa e depois como professor no Curso de Direito, atuando principalmente no Serviço de Assistência Judiciária – SAJ, especialmente cuidado de causas populares como as da ASMARE (Associação dos Catadores de Papel, Papelão e Material Reaproveitável de Belo Horizonte), da Pastoral de Rua, da (...) Pastoral Carcerária, de movimentos de “Sem Casa”, de ocupações e tantos outros grupos. Fábio sofria de grave problema de visão há mais de 15 anos. Quase ficou cego depois de diversas cirurgias de miopia. Isso, porém, não o impedia de seguir seu constante compromisso com as lutas populares. Na última entrevista que concedeu, menos de um mês antes de sua morte (19 de outubro de 2013), depois de duro sofrimento de quase dois anos, no tratamento de um câncer no pâncreas, conta um pouco de sua vida, sua luta e sua percepção de várias realidades, especialmente da Igreja e da pastoral. Militante formado na Teologia da Libertação, de profunda espiritualidade, marcada por traços da religiosidade popular nordestina e comprometida com a libertação, Fábio Alves também buscou em sua vida abrir-se à teologia do pluralismo religioso, especialmente com o Santo Daime, em cuja tradição religiosa chegou a ser “fardado”, mantendo uma profunda atitude espiritual aberta ao diálogo inter-religioso. Sua primeira publicação foi “Começo de mundo novo: sofrimento, luta e vitória dos posseiros de Santana dos Frades”, Sergipe, numa versão popular em 1981 e outra pela Editora Vozes (1990). Fruto de sua dissertação de mestrado, publicou o livro “Direito Agrário: política fundiária no Brasil (1995). Em 2001 saiu seu último livro, uma coletânea de artigos publicados em diversos jornais: “Em defesa da vida”. Num artigo em Horizonte (2004), juntamente com o advogado, amigo e colega Prof. Cristiano de Melo Bastos, discutiu “A prática jurídica na missão da PUC Minas”. Palavras-chave : Teologia da Libertação. Militância. Igreja Católica. Pastoral. Lutas populares. (shrink)

Desculpem começar de maneira talvez simples demais: eu era um pouco mais velho que o Rubem. Ele nasceu em 1933, eu em 1928. Cinco anos mais velho. Isso me levou a sempre abrir os braços não só para acolhê-lo, mas para tentar entender a linguagem de que se servia.

Søren Kierkegaard’s (1813-1855) works have as their starting point, aside from a couple of newspaper articles published around the middle of the decade of the 1830s, a literary review of a novel written by a contemporary of his who was to achieve international fame still in life, viz. the writer Hans Christian Andersen (1805-1875). Notwithstanding, I argue that what was meant to be a literary review hides a vigorous anticipation of a problem that was meant to interest Kierkegaard throughout his (...) entire production, that is, the problem of nihilism. In this sense, the present article is based on a reading of both Andersen’s novel as well as Kierkegaard’s review, which leads me to explore the more profound connotations of Kierkegaard’s critique of the former also in terms of the context these works were produced. In sum, my argument is that both Andersen and Kierkegaard were dealing with the first signs of the arrival of nihilism in Denmark. (shrink)

Resumo: Em 1835, Kierkegaard escrevia que “o que de fato falta para mim é encontrar uma verdade que seja uma verdade para mim, encontrar a ideia pela qual eu viverei e morrerei”. Ora, mais de 50 anos antes Rousseau escrevera que “[s]ua filosofia [a dos filósofos sistemáticos] é para os outros; ser-me-ia necessária uma para mim”. O curioso, porém, é que Kierkegaard desenvolveria sua produção independentemente da de Rousseau, com a qual ele viria a ter contato apenas por volta de (...) 1850, quando a maior parte de seus escritos já havia sido produzida e publicada. Assim, diante de tais coincidências, proponho uma confrontação entre alguns dos principais conceitos existenciais presentes nas obras desses pensadores, com o que pretendo não apenas iluminar os laços existentes entre suas obras, como também reavaliar o papel de proeminência de Rousseau em termos do desenvolvimento da chamada filosofia da existência. Palavras-chave: existência; indivíduo; subjetividade; consciência; sistema; filosofia da existência. (shrink)

No mês de Novembro de 2017, em ocasião do Dia Mundial da Filosofia da UNESCO, a Cátedra UNESCO Archai, do Programa de Pós-Graduação em Metafísica da Universidade de Brasilia, organizou um hangout Unesco sobre o tema Filosofia, gênero e feminismo, do qual participaram diversxs colegas brasileirxs, especialistas do tema, acima assinadxs. A gravação integral do hangout está disponível aqui: https://youtu.be/LH5LwTegGG4. Segue abaixo uma transcrição, revista e adaptada pelxs autorxs.

Existem muitas teorias sobre democracia. Na verdade, enquanto se fala de “teoria democrática” como se existisse um consenso acerca do que esta poderia significar, a partir do momento em que nos debruçamos sobre diferentes autores, apercebemo-nos de que há tantas teorias quanto há perspectivas sobre o tema. Neste artigo tenho como interlocutores Robert Dahl, Benjamin Barber, Robert Goodin e David Plotke. O artigo tem três momentos. No primeiro, desenho o contexto geral para uma reflexão crítica sobre democracia, partindo da análise (...) dos seus conceitos constitutivos, nomeadamente, os conceitos de representação, participação e deliberação. Este é o momento “estrutural”. De seguida, apoiando-me nos critérios ou virtudes de Dahl e no conceito de “democracia forte” de Barber, defendo que a instanciação dos vários modelos democráticos depende da importância que se confere a cada um dos critérios. Este é o momento de conteúdo. Dialogando com estes autores procuro identificar as implicações dos modelos representativo, participativo e deliberativo. Por último, procuro uma forma de redefinição da democracia mais positiva para o futuro, tendo o orçamento participativo como prática exemplar a seguir. (shrink)

In this paper, I discuss the possible relations between Fritz London’s account of the status of the observer in quantum physics and transcendental phenomenology. Firstly, I discuss Steven French’s interpretation of London’s thesis as a phenomenological account of the status of the observer, along with the objections Otávio Bueno has brought forward. Secondly, refusing in part both French’s and Bueno’s theses for several reasons, I propose another way of reading London’s thesis in the framework of transcendental phenomenology. Namely, I put (...) London’s account of the observer against the backdrop of Husserl’s analyses of the objectifying acts and objectual constitution. Finally, I end this article with some criticisms of what seems to me the ontological indigency of the Copenhagen interpretation of quantum physics, to whose “spirit” London also belongs. (shrink)

Com a criação de um periódico universitário na UFU, senti-me desafiado a colaborar com um artigo. Veio a preocupação: qual o tema? Mas, por que esta questão? Entende-se que não basta a simples proposta de um periódico publicado e se coloque qualquer idéia no papel para colaborar na revista. Enfim, deve-se evitar "escrever para publicar", pois isto não é o suficiente. Exposta a preocupação inicial, expõe-se o interesse pelo seguinte tema: “o recurso tecnológico na pesquisa social”. O que este artigo (...) visa colocar em cima deste informe inicial? Ou melhor, o que se propõe comunicar neste artigo? Como se pretende desenvolver esta questão nos limites deste artigo? [...] Palavras-chave: Ciências sociais; Gravador sonoro; Investigação social; Produção capitalista; Recurso tecnológico; Reflexões. (shrink)

Ego et communauté. Au contraire de la position défendue par la plupart des interprètes de Husserl qui, au nom de l'intersubjectivité, lui reprochent de suivre une "voie cartésienne" et d'accorder un privilège à l'ego cogito, il s'agit de montrer que cette critique n'est pas fondée : le primat méthodologique de l'ego est au contraire une condition nécessaire pour constituer la communauté intersubjective, et éviter de subordonner l'individualité vivante à une "transcendance" anonyme. L'enjeu est de comprendre la crise des temps modernes (...) comme celle d'un monde aliéné qui s'est fondé sur l'oubli de la vie, mais aussi sur le déni du pouvoir constituant de l'ego et la répression de toute subjectivité."--Page 4 of cover. (shrink)

My friend Steven Wagner, a philosopher I very much admire, recently wrote me that he finds ‘Just War Theory’ in its present form wholly untenable. With his permission, I shall quote part of what he wrote.

This study determines gender differences in the generation logic for green purchasing intention within the framework of bounded morality and bounded self-interest and determines the causes of the attitude–behavior gap from a new perspective. Empirical analysis of 977 sample data points is used to test the influencing mechanism of gender heterogeneity on green purchasing intention through altruistic values and egoistic values. Meanwhile, the moderated mediation effects are also analyzed. The results show that gender heterogeneity negatively affects ALVs and positively affects (...) EGVs for women as the reference group. The mediation effect of ALVs and EGVs is significant, and there are significant gender differences in the formation of values and green purchasing intention. As expected, women demonstrate higher levels of proenvironmental intention than men. Media exposure significantly moderates the mediation models. It negatively moderates the mediation effect of ALVs and positively moderates the mediation effect of EGVs. The results reveal the complex formation mechanism for green purchasing intention. It can conclude that the gender differences in terms of green purchasing, the different guiding roles of dual values, and the moderated mechanism of ME are key elements in accurate guidance of green consumption and the effective modification of the attitude–behavior gap. (shrink)

`Anyone who wants to gain a quick idea of how before me everything was topsy-turvy should make a start with this work. That which is called idol on the title-page is quite simply that which was called truth hitherto. Twilight of the Idols - in plain words: the old truth is coming to an end...' Nietzsche intended Twilight of the Idols to serve as a short introduction to his philosophy, and as a result it is the most synoptic of all (...) his books. Continuing in the spirit of its immediate predecessors On The Genealogy of Morals and The Wagner Case, it is a masterpiece of polemic, targeting not only `eternal idols' like Socratic rationality and Christian morality but also their contemporary counterparts, as Nietzsche the `untimely man' goes roaming in the gloaming of nineteenth-century European culture. He allies philosophy with psychology and physiology, relentlessly diagnozing the symptoms of decadence, and his stylistic virtuosity is such that the sheer delight he takes in his 'demonic' mischief-making communicates itself on every page. A brilliant new translation, this edition provides detailed commentary on a highly condensed and allusive work. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

The object of this paper is to study the analogy, drawn both positively and negatively, between mathematics and fiction. The analogy is more subtle and interesting than fictionalism, which was discussed in part I. Because analogy is not common coin among philosophers, this particular analogy has been discussed or mentioned for the most part just in terms of specific similarities that writers have noticed and thought worth mentioning without much attention's being paid to the larger picture. I intend with this (...) analogy (looking at others' comparisons) to shed a little light on what is going on in mathematics, how one can understand it a bit other than experientially. This intention is philosophical and the way that I am attempting to accomplish it is also philosophical. I shall conclude my attempt to explain how it is possible and even natural for mathematics and fiction to have the analogy they have, taking it for granted, as argued in part I, that they are not to be identified. To this end I shall discuss philosophers' comparisons, mainly those of Hodes, Resnik, Tharp, and Wagner, who are the writers that seem to me to have written most thoughtfully and sufficiently extensively about fiction in making the comparison and of Körner, whose comparison is different. Whether either of these comparisons or the more general analogy is of permanent philosophical interest will have to be decided by philosophers now that they have had a fuller examination. I shall mention some other writers' reference to fiction, but not all; indeed, I am sure that I have not even found all the comparisons that there are. (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to be: (...) A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

El 3 de enero de 1889, en Turín, se produjo la primera crisis que callaría a aquel que se llamaba a sí mismo Dionisos o el Crucificado, o ambos a la vez. Ya en Basilea, a Nietzsche se le había diagnosticado "parálisis progresiva". En Jena, los médicos supusieron una infección sifilítica que se remontaba hacia 1866. Paradójicamente, a fines del mismo mes de enero se publicaba El ocaso de los ídolos y en la primavera de ese mismo año, cuando Nietzsche (...) parecía haberse olvidado de todo lo referente a su obra y de sí mismo, se publicaba Nietzsche contra Wagner. (shrink)

In December 1945 Thomas Mann wrote a famous letter to Adorno in which he formulated the principle of montage adopted in his novel Doctor Faustus. The writer expressly invited the philosopher to 'consider, with me, how such a work - and I mean Leverkuhn's work - could more or less be practically realized'. Their close collaboration on questions concerning the character of the fictional composer's putatively late works effectively laid the basis for a further exchange of letters. The ensuing correspondence (...) between the two men documents a rare encounter of creative tension between literary tradition and aesthetic modernism which would be sustained right up until the novelist's death in 1955. In the letters, Thomas Mann openly acknowledged his 'fascinated reading' of Adorno's Minima Moralia and commented in detail on the 'Essay on Wagner', which he was as eager to read as 'the one in the Book of Revelation consumes a book which tastes "as sweet as honey"'. Adorno in turn offered detailed observations upon and frequently enthusiastic commendations of Mann's later writings, such as The Holy Sinner, The Betrayed One and The Confessions of Felix Krull. Their correspondence also touches upon issues of great personal significance, notably the sensitive discussion of the problems of returning from exile to postwar Germany. The letters are extensively annotated and offer the reader detailed notes concerning the writings, events and personalities referred or alluded to in the correspondence. (shrink)

In December 1945 Thomas Mann wrote a famous letter to Adorno in which he formulated the principle of montage adopted in his novel Doctor Faustus. The writer expressly invited the philosopher to 'consider, with me, how such a work - and I mean Leverkuhn's work - could more or less be practically realized'. Their close collaboration on questions concerning the character of the fictional composer's putatively late works effectively laid the basis for a further exchange of letters. The ensuing correspondence (...) between the two men documents a rare encounter of creative tension between literary tradition and aesthetic modernism which would be sustained right up until the novelist's death in 1955. In the letters, Thomas Mann openly acknowledged his 'fascinated reading' of Adorno's Minima Moralia and commented in detail on the 'Essay on Wagner', which he was as eager to read as 'the one in the Book of Revelation consumes a book which tastes "as sweet as honey"'. Adorno in turn offered detailed observations upon and frequently enthusiastic commendations of Mann's later writings, such as The Holy Sinner, The Betrayed One and The Confessions of Felix Krull. Their correspondence also touches upon issues of great personal significance, notably the sensitive discussion of the problems of returning from exile to postwar Germany. The letters are extensively annotated and offer the reader detailed notes concerning the writings, events and personalities referred or alluded to in the correspondence. (shrink)

continent. 1.2 (2011): 129-135. Introduction Vincent W.J. van Gerven Oei Successions of words are so agreeable. It is about this. —Gertrude Stein Nachoem Wijnberg (1961) is a Dutch poet and novelist. He also a professor of cultural entrepreneurship and management at the Business School of the University of Amsterdam. Since 1989, he has published thirteen volumes of poetry and four novels, which, in my opinion mark a high point in Dutch contemporary literature. His novels even more than his poetry are (...) criticized for being inaccessible, which I generally take to be a compliment. It would be like saying that Fernando Pessoa is inaccessible, which he is not. Neither is Wijnberg. When we think of the combination economist-poet we are immediately reminded of the American poet Wallace Stevens, who, as the story goes, had two stacks of paper on his desk, one for contracts, one for poems. We also know that Stevens wrote on the economy and that questions of economy and insurance surface at multiple points in his poems. The following text is a very preliminary attempt to point at the intersections between poems, novels, business, and poetry in Wijnberg’s work. On the back cover of his novel De opvolging ( The Succession , 2005), Wijnberg states the following: “[This is] a novel for whomever is interested in the workings of a company as much as in the workings of a poem.” Wijnberg thus claims that the way in which a company “works” may be similar to the way in which a poem “works.” The question is the obvious one, what does this similarity consist in? De opvolging tells the story of company in which bosses and company doctors, secretaries, children, clowns, and beggars have tons of meetings, recite poems, perform plays, tell jokes, and succeed each other, climbing up and down in the company’s hierarchy. De opvolging is a novel in which the career of people follows the career of words. It resonates with Gertrude Stein's sentences, "Grammar. What is it. Who was it" (1975, 50). The words in Wijnberg's poems are like he characters in his novel. And if we keep in mind this allegorical reading of De opvolging , which is obviously only one of the possible readings, we may be able to understand some aspects of Wijnberg’s poetry. A repetition is already a pun. Look, that word is trying it again, as if it is afraid that by not doing it it would give up the hope that it will ever be able to do something. A pun is the opposite of the first word coming to the mind of someone who shouts it when he suddenly discovers something. (104) The repetition, the succession of the same word, is already a pun, a joke. The succession of the father by the son after the revolution is a joke. "Look he's trying it again!" The essence of a joke is a repetition. Archimedes’ “Eureka!” is its opposite. Poems can easily become jokes, depending on the way the words follow and repeat each other. In De opvolging , the careers of the bosses, good and bad secretaries, and company doctors easily become jokes, as they are “afraid that by not doing it [they] would give up the hope that [they] will ever be able to do something.” Not only the repetition, but also the distance and difference between the words in a poem, their cause and effect relations can be read as company relations. This becomes clear when we, for example, read the first lines of the poem “Cause, sign” from Het leven van ( The Life Of , 2009). A sign lets know what is going to happen, a cause lets it happen. If the sign also lets happen there is no reason to isolate it, because then I would isolate some- thing only because it’s different for me. If I didn’t have to write this myself, but would have secretaries to whom I could dictate it, I would be able to say more about it. (49) Upon reading the first two lines we can already conclude that any word may be cause or sign or both. If a sign is also a cause there is no reason to discriminate it, yet to the poet they are still different. This difference only becomes expressible the moment he would have a secretary. Just like in De opvolging , the secretary introduces a distance; not in a company but in a poem. Hence the difference between “good” and “bad” secretaries in a company, where the good secretary of one boss may be the bad secretary of another one. The more we can say about the bosses of the company, or signifiers of the poem, the greater the distance we introduce between them and us. We should take serious the relation between Wijnberg’s novels and poems. Although they operate on different scales, they explain and converse with each other. Another example may be the novel Politiek en liefde ( Politics and Love , 2002), which deals with the relation, precisely, between politics and love. In the novel, Nicolai, a lieutenant in the Dutch army, is sent to Africa on a military mission. Upon leaving a receives a letter from his father. Dear son, Don’t do anything stupid before your father has advised you to do so. Your mother asked me to write a wise letter. I have been looking for wisdom for half a day and haven’t found much. If you borrow a small amount from a bank you become the bank’s slave, but if you borrow a couple of millions and spend them as quickly as possible the bank becomes your slave. What I want to say is that you have to return from Africa in good health, and before you know it the world will be your slave [....] Signed with a kiss from your father. (88) The line, “If you borrow a small amount from a bank you become the bank’s slave, but if you borrow a couple of millions and spend them as quickly as possible the bank becomes your slave,” returns as the title of poem in Het leven van: “If I borrow enough money the bank becomes my slave” (12-3), which elaborates this theme. So both in the way that these poems are structured and in their subject matter, they refer to the structures of our economy, to the ever-continuing line of CEOs succeeding each other like words, to the distance between them introduced by bureaucracy, and giving and receiving as economical and poetical acts. Poem and economy map onto each other, as in another episode from De opvolging : Edward reads two of the beggar’s poems about presents. Of a holiday nothing remains, except for memories, and if some of them are bad I’d rather forget them all; if I get a present I’d rather get something that’s useful to me for a long time. If I may choose, I choose what I can use longest, long enough to partially forget that this was the present, because it feels bad when nothing is left of it. […] Giving away becomes destruction in the stock destruction economy [ voorraadvernie -tigings-economie ], that is a gift economy [ geschenkeneconomie ], encountering for the first time an economy in which there’s selling and buying on markets. Instead of destroying supplies someone can also quickly say that they aren’t worth anything anymore; if someone wants to take them I’d gladly give him something extra. In a stock destruction economy he is someone who each day wants to work more hours than his colleagues. If around a company there is a gift economy in which someone’s rank is determined and made visible by the gifts someone can give someone else, a company will be more often character- ized by an invisible or unclear system of ranks. (152) Two poems about gifts present two different economical models, described by Wijnberg with the terms “stock destruction economy” and “gift economy.” Here we immediately recall the opposition introduced by George Bataille’s work on the concept of expenditure in The Accursed Share , where a “general economy” would surpass the stock destruction economy based on scarcity (capitalism) and become a gift economy (potlatch) and an egalitarian (communist) society. These claims are made both on the level of the poems and in their discursive explanation. They follow each other and on each other. I would like to finish this introduction to Wijnberg’s writing with a translation from his novel De joden ( The Jews , 1999), which develops the story of Hitler abdicating as chancellor of the Third Reich, appointing philosopher Martin Heidegger as his successor. In a conversation with two Russian actor-spies, sent by Stalin to figure out the situation, philosopher Walter Benjamin describes the abdication scene. Maimon: You were there when Hitler resigned? Benjamin: In the room we’re right now. The desk and the chairs are new. After his resignation Hitler would like to take his furniture to his new house. Martin naturally agrees. It is a sunny day. Martin is very nervous and complains about the heat. Martin is wearing his best dark blue suit, not his professor’s robe. Hitler is wearing his uniform. We enter the room and Hitler gets up and embraces Martin. Martin is not very good at embracing. Hitler shakes his hand. Hitler’s cap is on the desk. The cap has a metal lining. Hitler has strong neck muscles. Hitler says: A man is unclean. He takes a bath. Does he make the bath water unclean? I say: a man is unclean. He steps into a river. A little further a man steps into the river; does he become unclean? Hitler nods. I say: a man is standing in music. Another man hears the music but also sees the first man moving on the beat of the music in a way that he is certain that the music would excite different feelings in him if he wouldn’t to see the first man. Hitler says: a man is clean, listens to music, is suddenly touched and he doesn’t know by what. The conversation ends in the way you know it ends. Hitler picks up his cap from the desk and puts it on Martin’s head. (73-4) Aware of the never ending debate on the question of Heidegger’s involvement in the Nazi regime, Wijnberg has the audacity to present the arguments of complicity in the religious terminology of cleanliness and uncleanliness, while at the same time recalling overtones of Hitler’s supposed love for Wagner, suggesting a relation between Benjamin and Hitler, and so on. The space of this introduction is to small to treat a novel like De joden , a reading of which together with passages from Philippe Lacoue-Labarthe's Heidegger, Art, and Politics: The Fiction of the Political , Jacques Derrida's Of Spirit , Christopher Fynsk's Heidegger: Thought and Historicity , and Avital Ronell's The Telephone Book would be extremely elucidating and potentially open new avenues in thinking Heidegger's emphasis on poetry after the fall of the Nazi empire. But at this point we will have to curb our curiosity and follow the poet himself. The themes of the relation between business and poetry, but also Chinese landscape painting, love, Indian and Japanese poetry, and Western philosophy are analyzed and assimilated in Wijnberg’s work without ever losing the clarity of expression. It may be that, according to Alain Badiou, the “Age of the Poets” is over, but its end (Paul Celan) has exactly brought a new balance between philosophy and poetry, and it is this playful, but nonetheless serious balance that makes one hope that one day Wijnberg’s complete oeuvre might become available to readers across the planet. Tiranë, Albania February 15, 2011 English translations (all of them translated by David Colmer, who is preparing an English collection of Wijnberg’s poems entitled Advanced Payment ): Poetry International Words Without Borders Green Integer Review from Het leven van ( The Life of ) THE LIFE OF KANT, OF HEGEL As if every day he takes a decision that is as good as when he’d been able to think about it all his life. The life of Kant, of Hegel, the days of the life of, select three or four of them. Tell what he has discovered during those days as if he were the last one who knew so little. Give me something that I can cancel against then I can prepare myself for it. The reward is that I may continue with what I’m doing, it doesn’t matter how long it takes. This has nothing to do with everything remaining the same if I say that I no longer want anything else. I wouldn’t be able to say in which one and the other occur in a way that I if I knew something to cancel that one against it wouldn’t be possible now. The stars above my head and being able to say what belongs to what if I’ve let them in. FOLLOWING MY HEART WITHOUT BREAKING THE RULES Observing the rules without observing the rules by going where the rules no longer apply. I could also observe the rules there by applying them to what at great distance may resemble what the rules are about. But why would I do that, not to confuse someone who is seeing me from a great distance? Behind this morning the morning prepares itself when the rules are everything I have. IF I BORROW ENOUGH MONEY THE BANK BECOMES MY SLAVE A bank lends me money, if I don’t pay it back they tell my boss that he has to pay them my salary. But they have to leave me enough to eat and sleep and an umbrella when it’s raining. They can also empty my house, the furniture isn’t worth a lot, but every little helps. Each morning I leave for work, if I don’t start early they’ll soon get someone else, no bank will lend me money when the sun is shining. My boss has given me a cat to raise as a dog. Of course I know that it won’t work out, but I’ve asked for a week—maybe the cat gets lucky, maybe I get lucky. My hands around a cup of coffee, before I leave for work, warm-empty, cold-empty, as if hidden in the mist over a lawn. What I make when there’s no work left for me, I’m ashamed to say how little it is. Once I’m outside I check it, if they watch out of the window they can see me doing it. Suppose it is so much that I’d stay counting for hours, it’s getting dark and I’m still there. They stay watching for a while once they’ve finished their work, but have to go home, I get that, sure, I could also go home and continue counting there. If it’s too little running back immediately won’t help, because nobody’s there anymore, and if I come back tomorrow I may have spent what’s missing tonight. Going somewhere where it’s warm enough to walk around without clothes during daytime, it helps me to know that something’s more there than here. For someone like me there’s work anywhere, it shouldn’t take a week to find work for me there. Three times work and a home close to work, I may choose one and try for a week whether I want to stay there. If at the end of the week I don’t want to stay I’m back on the next day, then it was a week’s holiday. RULES If that’s against a rule, it’s yet another one that I cannot observe, or only so briefly that I cannot re- member it later. Anyways the rules are only there to help me remember what I need in order to do better what I do. In that respect there’s no difference between the rules that I find in a book and the rules that I think of early in the morning. I know that because I’ve made a rule just now nothing has yet to observe it. CAUSE, SIGN A sign lets know what is going to happen, a cause lets it happen. If the sign also lets happen there is no reason to isolate it, because then I would isolate something only because it’s different for me. If I didn’t have to write this down myself, but would have secretaries to whom I could dictate it, I could to say more about it. If something is taken away from me I consider how it would be if the opposite had been taken from me. That is what causes or signifies what is farthest away from what is caused or signified by what has been taken away from me. note: For the translations of “The life of Kant, of Hegel” and “If I borrow enough money the bank becomes my slave” I was able to consult David Colmer’s wonderful translations. (shrink)

This is the ninth volume of translations of major works by Martin Heidegger to be published by Indiana University Press. It is the second translation of one of his lecture courses by the late Andre Schuwer and Richard Rojcewicz. No other thinker who wrote in German brings to the fore more seriously the problems of the translation of his texts into English than Martin Heidegger. In a certain sense, one of the major themes of his work is translation. In a (...) lecture series given a few years after Basic Questions of Philosophy, he said: "Tell me what you think about translating and I will tell you who you are." Though we do not hear anything about the basis of their translation decisions, in the translators' foreword we learn something about the Gesamtausgabe [Collected Works] edition of Heidegger's texts as they are currently being brought out by Vittorio Klostermann Verlag: "The words of Heidegger are reconstructed with as much faithfulness as the editor can bring to the task, and they are then simply left to speak for themselves". All translation is, however, transformation and interpretation, and the bridging of two linguistic worlds. There is no choice but to read Heidegger's text with the original German nearby. The present translation of the course Heidegger gave during the Winter Semester of 1937 at the University of Freiburg retains the tempo of Heidegger's delivery in class, even though the German editor, Friedrich-Wilhelm von Herrmann, who worked with several revised and emended versions of the lectures, "deleted epithets and interjections, characteristic of the lecture style but disturbing in a printed text, to the extent that they were not already stricken by Heidegger himself'. A good many of Heidegger's emphases have not been carried over by the translators. There are frequent repetitions, reviews and recapitulations, which were part of Heidegger's pedagogic style in his steady pursuit of a topic. In addition to the text of the lectures themselves, there is an appendix which includes an outline of the course as Heidegger initially envisioned it. His original plan was abandoned, but a fairly substantial and thoroughly worked out portion of the first two sections and part of the third section of the course as originally outlined are also contained in the appendix. Finally, supplements to the last two sections of the lecture course as it was given are included. The editor notes that this course, first published in 1984, is of particular importance for understanding Heidegger's 1936-38 Beiträge zur Philosophie [Contributions About Philosophy ], which will also appear in translation in the near future from Indiana University Press. The theme of the course is the essence of truth. Heidegger had first given a public lecture with that title in 1930. Much of what is implied in the lecture, which was published only in 1943, is made explicit in these lectures. Therefore, they supplement and clarify that key text. In the course, Heidegger explores the characterization of truth as correctness, which obscures the early Greek experience of ἀλήθεια, understood as unconcealedness. Heidegger's phenomenological studies of wonder, admiration, astonishment, marvelling, and awe in §37 are masterly. The event about which there has been so much speculation is quite simply the possibility of a fresh start for thinking. This would emphatically not be a repetition of the Greek experience from which Western metaphysics originated, but requires a broad jump, an existential Quantensprung, à la Lessing and Kierkegaard, for which there must be a great deal of preparation of a certain kind since there is nothing leading up to it, neither introduction nor transition. Heidegger looks forward to an unprecedented event comparable to the emergence of philosophy out of early Greek life. At long last, Schuwer and Rojcewicz are prepared to render "Dasein" as "existence," which is correct. It has always been possible to dispense with the original German term, providing we bear in mind the place of another key term in Heidegger's vocabulary with which "Dasein" is easily confused, "Existenz". Heidegger's lecture courses, which he left behind fully written out and in most cases continued to annotate and revise through the years, provide the reader with a feel for what this remarkable teacher of thinking must have been like.--Miles Groth, Wagner College. (shrink)

[1] Ḥeleḳ ha-moʻadim -- [2] Ḥeleḳ parashiyot ha-Torah -- ḥeleḳ 3. Be-ʻinyene midot.

In lieu of an abstract, here is a brief excerpt of the content:Encounters with Bertrand RussellBryan Magee and Introduced by Henry HardyBryan Magee (1930–2019), the celebrated philosopher, politician, journalist, author and broadcaster, was (and still is) well known for his brilliant television conversations with prominent philosophers—a triumph of uncondescending popularisation. He was a consummate interviewer and discussion chairman, and one of the most articulate and engaging expositors, especially of ideas, who ever lived.Born a cockney in Hoxton, east London, he was (...) educated at Christ's Hospital School in Sussex, and at Oxford, where he was elected president of the Oxford Union. Early in his career he presented the itv current affairs programme This Week, made documentaries about social issues, and wrote books, including the hugely successful Popper (1973) for Fontana Modern Masters. In 1974 he was elected as Labour mp for Leyton, but in 1982 defected to the sdp, losing his seat in 1983.He talked to philosophers for the bbc in the radio series Conversations with Philosophers (1970–71) and in the two tv series Men of Ideas (1978) and The Great Philosophers (1987). Substantial volumes on Wagner and Schopenhauer were highlights in an eventual total of 23 very various books, including The Story of Philosophy (1998), Ultimate Questions (2016), and three volumes of autobiography: Clouds of Glory: a Hoxton Childhood (2003), Growing Up in a War (2007), and Making the Most of It (2018).He left a large body of unpublished work: finished and unfinished books; essays, poems, interviews, "Notebooks" of short philosophical thoughts, correspondence. It falls to me as his literary executor to publish the best of it. I started with the selection from the Notebooks that appeared last year in the New Statesman, chosen by the editor of the magazine, Jason Cowley. Next in line are his pen-portraits of contemporary figures whom he knew well, or met [End Page 63] and sharply observed. Many of these, including the one published here,1 were written in a thick red bound foolscap notebook. Magee intended them to be published as a book, but never turned to the task.The following vignette of his meetings with Russell turned out to be a dry run for "Getting to Know Russell", Chapter 12 of Confessions of a Philosopher, which I described, when I reviewed it for the Times Higher Education Supplement,2 as a "challenging and readable invitation to philosophy" that is "exemplary in its clarity and breathtaking in its intellectual self-confidence". As Andrew Bone, co-editor of this journal, has observed to me, this original version is "More affectionate and less critical than the longer book-chapter that grew out of it."3 The later version is not as different from the earlier as Magee's closing words below imply it should be, but there are things in both versions that are not there in the other, so that it is worth having both in print. In the book Magee adds that Russell was one of the two geniuses he had the good fortune to get to know (the other, presumably, being Karl Popper), that "My first day with Russell remains for me the most memorable day of talk I have ever experienced", and that "Russell remains the most unforgettable character I've met." There are also factual differences: for example, Magee says below that they spent only "minutes" on the tv project that he visited Russell to discuss, but in the book "We discussed the television programme at useful length." Stories have a way of changing in the retelling. [End Page 64]________25 October 1970I have been putting off writing about Russell, because the task is so great, and the offhand way I have written this book is not appropriate to it. Perhaps first, simply, the facts of my acquaintanceship with him.When I was working at atv in the late 1950s it was wanted to include Russell in a one-hour documentary about the population explosion (a documentary which would have to say a good deal about world hunger). I rang him at his house in Wales to ask him to take part, and told him I was perfectly willing to bring a television unit down to Penrhyndeudraeth to film the... (shrink)

An allocation problem is a type of aggregation problem in which the values of individuals' opinions on some set of variables sum to a constant. This paper shows that for realistic allocation problems, namely ones in which the set of possible opinion values is finite, the only universal aggregation methods that satisfy two commonly invoked conditions are the dictatorial ones. The two conditions are, first, that the aggregate opinion on any variable depends only on the individuals' opinions on that variable (...) and not on their opinions on any other variable and, secondly, that the aggregate opinion minimally preserves unanimous individual opinion. Connections between this result and similar ones in the literature on judgment aggregation are explored and their significance assessed.Send article to KindleTo send this article to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about sending to your Kindle. Find out more about sending to your Kindle. Note you can select to send to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply. Find out more about the Kindle Personal Document Service.REALISTIC OPINION AGGREGATION: LEHRER-WAGNER WITH A FINITE SET OF OPINION VALUESVolume 9, Issue 2R. Bradley and C. WagnerDOI: https://doi.org/10.1017/epi.2012.2Your Kindle email address Please provide your Kindle [email protected]@kindle.com Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Dropbox To send this article to your Dropbox account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Dropbox. REALISTIC OPINION AGGREGATION: LEHRER-WAGNER WITH A FINITE SET OF OPINION VALUESVolume 9, Issue 2R. Bradley and C. WagnerDOI: https://doi.org/10.1017/epi.2012.2Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Send article to Google Drive To send this article to your Google Drive account, please select one or more formats and confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about sending content to Google Drive. REALISTIC OPINION AGGREGATION: LEHRER-WAGNER WITH A FINITE SET OF OPINION VALUESVolume 9, Issue 2R. Bradley and C. WagnerDOI: https://doi.org/10.1017/epi.2012.2Available formats PDF Please select a format to send. By using this service, you agree that you will only keep articles for personal use, and will not openly distribute them via Dropbox, Google Drive or other file sharing services. Please confirm that you accept the terms of use. Cancel Send ×Export citation Request permission. (shrink)

Hans Wagner (1917-2000) hat Mitte des vorigen Jahrhunderts eine systematische Erneuerung der Transzendentalphilosophie in Angriff genommen: eine an Kants subjektheoretischem Geltungsbegriff orientierte und Problementwicklungen des deutschen Idealismus, des Neukantianismus und der Phanomenologie integrierende Transzendentalphilosophie. Diese Gedenkschrift zu seinem hundertsten Geburtstag enthalt Beitrage von Reinhold Aschenberg, Reinhold Breil, Martin Bunte, Werner Flach, Klaus Ganglbauer, Bernward Grunewald, Reinhard Hiltscher, Christian Krijnen, Peter Michael Lippitz, Steinar Mathisen, Gerhard Seel, Manfred Wetzel und Kurt Walter Zeidler, welche die Philosophie Wagners in ihrem historischen und (...) systematischen Gehalt erkunden. (shrink)

Name der Zeitschrift: Kierkegaard Studies Yearbook Jahrgang: 2016 Heft: 1 Seiten: 51-74.

Research on unethical leadership has predominantly focused on interpersonal and high-intensity forms of harmful leader behavior such as abusive supervision. Other forms of harmful leader behavior such as excessively pressuring subordinates or acting in self-centered ways have received less attention, despite being harmful and potentially occurring more frequently. We propose a model of four types of harmful leader behavior varying in intensity and orientation : Intimidation, Lack of Care, Self-Centeredness, and Excessive Pressure for Results. We map out how these relate (...) to other constructs in the unethical leader behavior field in order to integrate the existing work on how leaders can cause harm to followers. Next, in five studies, we develop and test a new survey instrument measuring the four proposed types of perceived HLB. We provide initial validity evidence for this new measure, establish its psychometric properties, and examine its nomological network by linking the four types of HLB to related leadership constructs and soft and hard outcome correlates at the individual and team level. We find that HLB is negatively related to constructive forms of leadership and positively to unethical ones. HLB is also related in the expected direction to job satisfaction, engagement, psychological safety, knowledge sharing, knowledge hiding, deviance, and objectively recorded team-level stress-related absenteeism. (shrink)

The alleged for-me-ness or mineness of conscious experience has been the topic of considerable debate in recent phenomenology and philosophy of mind. By considering a series of objections to the notion of for-me-ness, or to a properly robust construal of it, this paper attempts to clarify to what the notion is committed and to what it is not committed. This exercise results in the emergence of a relatively determinate and textured portrayal of for-me-ness as the authors conceive of it.

A contribution to the literature of the 19th century culture, this is a study of the close links between Wagner and the philosophy of his age. The author communicates his enthusiasm for, and knowledge of, both Wagner and Schopenhauer with clarity. In consequence, the reader is left with an improved understanding of Wagner's music, the thought of his contemporaries, and, crucially, the part played by abstract reasoning on the composer's creative life.

The controversy between Richard Wagner and his critic Eduard Hanslick is well known, but rarely looked at in detail. It is mostly believed that Hanslick was unable to see Wagner's genius, stuck deeply in an antiquated aesthetical world. By reassessing Wagner's and Hanslick's letters and publications it can be seen, however, that Hanslick's detailed criticism (and also appreciation) was much more objective and less spiteful than is often assumed.

Garber (1983) and Jeffrey (1991, 1995) have both proposed solutions to the old evidence problem. Jeffrey's solution, based on a new probability revision method called reparation, has been generalized to the case of uncertain old evidence and probabilistic new explanation in Wagner 1997, 1999. The present paper reformulates some of the latter work, highlighting the central role of Bayes factors and their associated uniformity principle, and extending the analysis to the case in which an hypothesis bears on a countable (...) family of evidentiary propositions. This extension shows that no Garber-type approach is capable of reproducing the results of generalized reparation. (shrink)

In recent debates on phenomenal consciousness, a distinction is sometimes made, after Levine (2001) and Kriegel (2009), between the “qualitative character” of an experience, i.e. the specific way it feels to the subject (e.g. blueish or sweetish or pleasant), and its “subjective character”, i.e. the fact that there is anything at all that it feels like to her. I argue that much discussion of subjective character is affected by a conflation between three different notions. I start by disentangling the three (...) notions in question, under the labels of “for-me-ness”, “me-ness” and “mineness”. Next, I argue that these notions are not equivalent; in particular, there is no conceptual implication from for-me-ness to me-ishness or mineness. Empirical considerations based on clinical cases additionally suggest that the three notions may also correspond to different properties (although the claim of conceptual non-equivalence does not depend on this further point). The aim is clarificatory, cautionary but also critical: I examine four existing arguments from subjective character that are fuelled by an undifferentiated use of the three notions, and find them to be flawed for this reason. (shrink)

A professora Pórcia Guimarães Alves teve formação educacional diferenciada e, concluindo o ensino superior, continuou sua formação com cursos e encontros científicos no Brasil e em outros países. Durante as viagens, trocava missivas com seus familiares, que foram mantidas em arquivo pessoal em plástico denominado “Cartas enviadas ao meu pai”. Procurou-se analisar: qual a escrita de si de Pórcia contida nas cartas trocadas com seus familiares entre 1946 e 1958? Listaram-se os objetivos específicos: mapear os familiares mencionados nas cartas; (...) analisar a materialidade do suporte epistolar procurando aspectos subjetivos em seus registros autobiográficos; e identificar temas narrados nessa escrita. (shrink)

Wagner’s reform of opera into musical drama introduced new formal solutions, which have been sparking discussions between analysts from the moment Wagner’s mature works (_Der Ring des Nibelungen_, _Tristan und Isolde_, _Die Meistersinger von Nürnberg, _and _Parsifal_) premiered. It was Friedrich Nietzsche who formulated the most famous critique of Wagner’s alleged inability to handle great forms, which stems from miniaturism as the principal compositional characteristic, or even as the main symptom of Wagner’s decadent style. Drawing from (...) Karol Berger’s book _Beyond_ _Reason_, this paper will look at the historical context of Nietzsche’s reproach, question its adequacy, and lastly illuminate the paths and problems the artist and the philosopher faced while exploring new ways of thinking and creating in the times of crisis brought on by the decline of the Enlightenment’s faith in the power of reason. (shrink)

Review of Simon Callow's book, 'Being Wagner: The Triumph of the Will'.

Richard Wagner has come to be seen as the quintessential artist of the nineteenth century, whose work embraces all the arts of the period. Dieter Borchmeyer here provides the first systematic and comprehensive account of Wagner's aesthetic theory, examining his hitherto neglected prose writings and his ideas on music drama from the various standpoints of literature, the linking of ideas, and the sociology of art. The pre-eminent importance for Wagner of classical Greek art and mythology emerges with (...) particular clarity, while his links with the great figures and forms of world theatre - Shakespeare, the commedia dell'arte, the popular theatre, and the puppet theatre - are traced in detail. The influence on Wagner of the historical and social novel is also discussed. The author provides the first comprehensive analysis of Cosima Wagner's Diaries, and throws unexpected sidelights on Wagner's relationship with Nietzsche, in particular his important contribution to Nietzsche's The Birth of Tragedy. Central to the present study are Wagner's music dramas from Die Feen to Parsifal. These are examined in their literary, ideological, and socio-political contexts. First published in German in 1982, this book has become established as a standard work of Wagner scholarship, and now appears for the first time in English in a completely revised edition incorporating a number of new chapters on the music dramas. (shrink)