Talmy divided the world’s languages according to how they express movement. Spanish, a verb-framed language, purportedly constrains the use of motion verbs expressing the manner of movement (such as roll) to contexts in which no spatial boundary is crossed. Previous research suggests that this constraint sometimes does not apply. We report the first large-scale investigation of the constraint and its modulating factors (movement direction, verb type, entering/exiting, Ground size, the preposition used) across different Spanish-speaking communities. A task with open-ended description (...) of animated videos, a sentence interpretation task, and a rating task found that Spanish and Latin American speakers (n = 180 in total) often use manner verbs to describe boundary-crossing situations (especially entering a place), although this is modulated by the preposition following the verb (more with a than en). Better understanding of this constraint in verb-framed languages has applications in, for instance, L2 acquisition research. (shrink)

Há longo tempo considerado um dos sentidos menores e mais fracos nos animais humanos, o olfato na realidade assume na nossa modalidade de existência uma função bem menos marginal, antes central, nos comportamentos socio-emocionais, na evocação das memórias e na comunicação não verbal, e não último na nossa vida quotidiana, especialmente pelo seu papel na percepção do sabor dos alimentos. Graças aos progressos que a pesquisa alcançou nas últimas décadas, a ponto de justificar entre outras coisas o nascimento de uma (...) nova área científica chamada neurogastronomia, o olfato, e especialmente o olfato retronasal, se configura como uma das nossas habilidades mais espécie-específicas, à qual devemos, inclusive, uma das maiores alegrias da vida: o prazer consciente de saborear e de apreciar alimentos e bebidas. Partindo deste tema, o objetivo deste ensaio è, portanto, mostrar em que medida uma experiência radicada no corpo, como a percepção do sabor, remonte às características espécie-específicas desenvolvidas pelo olfato humano no curso da evolução, configurando-se como uma forma complexa de cognição encarnada, cujas possibilidades dependem tanto da estrutura biológica, quanto do uso efetivo que fazemos deste extraordinário dispositivo corpóreo. _Palavras-chave:_ odores, olfato retronasal, percep;ção do sabor, gosto, neurogastronomia, anosmia, ageusia. (shrink)

In recent decades, neurosciences have reached considerable goals in understanding mental processes and human behavior, overcoming the classic separations between mind and body, reason and passion, penetrating the maze of our cognitive and emotional life to explain their rootedness in the body and the their interactions with the environment. And if until not many years ago psychological and neuroscientific research neglected the study of emotional life to focus only on cognitive functions tout court, today there is even a dedicated sector (...) called affective Neuroscience. By broadly reconstructing the general panorama of neuroscience, and of the affective ones in particular, this essay focuses on the contribution that research on mirror neurons has made to understanding the mechanisms of intersubjectivity and above all that component of social cognition that is empathy. The goal is to understand how we recognize the emotions of others and to explain what the human ability to interpret the actions and intentions of others as if they were ours, to know better how we work and how we relate to others. Research on mirror neurons, within an embodied perspective, shows how the brain is an organ linked to a body that acts, moves and feels in its unceasing interaction with the world. Keywords: Neuroscience. Affective Neurosciences. Emotions. Empathy. Mirror neurons. Embodied cognition. (shrink)

Socially responsible human resource management (SR‐HRM) is becoming increasingly important for academics and managers. The interface between HRM and corporate social responsibility (CSR) is the subject of analysis in this article. It adopts a contextual perspective to analyze whether the institutional context influences the implementation of socially responsible HRM (SR‐HRM). Considering the differences in the national institutional contexts across Europe, this study explores the different models of SR‐HRM in that region. The research is focused on a sample of 153 companies (...) headquartered in Germany, Spain, Sweden, and the United Kingdom. The findings evidence the influence exerted by the national institutional context on the implementation of SR‐HRM. Differences among country clusters suggest the existence of different models of SR‐HRM in Europe. However, these models do not correspond to the blocks on HRM or on CSR identified by the literature but instead provide a novel categorization. (shrink)

This essay examines Arendt's descriptions of "Hottentots" in The Origins of Totalitarianism, especially the comparisons and contrasts she frequently draws between Hottentots and other peoples. In particular, Arendt highlights dehumanization of presumptively "civilized" people in comparing them to Africa "savages." Close reading of such analogies demands that we look beyond the racial explanations that other scholars have offered and focus instead on how Arendt's conception of humanity is bound up with a specific sense of culture that is antiprimitivist—exclusive of peoples (...) without history, primitives. Analysis of her moral anthropology uncovers the Cape Colony discourses and postenlightenment German philosophical supports that inform her antiprimitivism. However, Arendt's antiprimitivism may not remain confined to Origins. In later essays,Arendt analyzes the various aspects of culture in instructive ways. Yet she also synthesizes culture concepts into a schema that introduces problems for her. (shrink)

Imagination has received a great deal of attention in different fields such as psychology, philosophy and the cognitive sciences, in which some works provide a detailed account of the mechanisms involved in the creation and elaboration of imaginary worlds. Although imagination has also been formalized using different logical systems, none of them captures those dynamic mechanisms. In this work, we take inspiration from the Common Frame for Imagination Acts, that identifies the different processes involved in the creation of imaginary worlds, (...) and we use it to define a dynamic formal system called the Logic of Imagination Acts. We build our logic by using a possible-worlds semantics, together with a new set of static and dynamic modal operators. The role of the new dynamic operators is to call different algorithms that encode how the formal model is expanded in order to capture the different mechanisms involved in the creation and development of imaginary worlds. We provide the definitions of the language, the semantics and the algorithms, together with an example that shows how the model is expanded. By the end, we discuss some interesting features of our system, and we point out to possible lines of future work. (shrink)

This essay offers a general interpretation of Benedetto Croce’s aesthetics as a theory of knowledge. It takes its title from Croce’s famous work in the 1931, Le Due Scienze Mondane; l’Estetica e l’Economica, in which Croce describes the process of development of modern aesthetics as the affirmation of a logica dei sensi ; a definition developed from the “poetic logic” in Vico’s Scienza Nuova. The essay starts with a comparison with Gilles Deleuze’s logic of sense, or thought of the surface, (...) to propose the argument that Croce can be acknowledged as one of the authors of the Nietzschean reversal of Platonism. This argument is supported by the anti-metaphysical character of Croce’s thought, who has always pursued the aim of overcoming cognitive dualism to give new dignity to the sense in all of its complexity and, by consequence, to the world. Aesthetics, in Croce’s solution, possesses two philosophical meanings: because its better epistemological definition – particularly in the connection between intuition and expression – provides advantages in other fields of philosophy; in addition, aesthetics is the initial form of spiritual life. (shrink)

Como é sabido, comida e eros são duas fontes de prazer, indissociavelmente ligadas. Não é uma coincidência que o termo ‘apetite’ denota tanto a sensação que acompanha a necessidade de se alimentar, como, em geral, a tendência natural para satisfazer os desejos físicos e especialmente sexuais. Os prazeres do paladar, bem como os sexuais, estão em grande parte relacionados com multissensorialidade que os perpassa. São, portanto, experiências totalizantes, prazeres difusos que satisfazem todos os nossos sentidos, contribuindo de modo nada trivial (...) à obtenção da vida feliz para a qual temos uma vocação inata. Os sentidos mais “carnais”, em especial o gosto – o sentido mais sinestésico – juntamente ao olfato, são os mais envolvidos na mesa assim como na cama. Funções essenciais para a sobrevivência dos indivíduos e para a preservação de todas as espécies animais, comer e se reproduzir foram transformadas pelo animal humano em duas atividades espécie-específicas: o erotismo e a gastronomia. E, portanto, em fontes de prazer longe de ser instintivo, no qual também a linguagem desempenha um papel considerável. As saborosas descrições de um prato são parte integrante da sua apreciação e do prazer que derivamos do seu consumo e da sua partilha, exatamente como o são as palavras sussurradas durante uma festa de amor. Cientes da dificuldade imposta por um tema sobre o qual se disse e se escreveu de tudo, neste artigo tentaremos descrever o papel dos sentidos “carnais”, e do gosto em particular, nas duas experiências mais sensuais e totalizantes que definem a “boa vida” para a qual estamos naturalmente inclinados. Palavras-chave: Gosto. Comida. Prazer. Eros. Multisensorialidade. (shrink)

Normal 0 14 false false false MicrosoftInternetExplorer4 SINTESI Un pregiudizo tramandato per secoli dalla cultura filosofico-scientifica dominante ha avvalorato una gerarchia dei sensi centrata sul primato cognitivo della vista e dell’udito, relegando il gusto al rango di senso ‘minore’, di senso carnale e distante dalla conoscenza. Ma portare qualcosa alla bocca e capirne il sapore è un’attività che per gli animali umani oltrepassa il bisogno fisiologico, configurandosi come un’esperienza multisensoriale ma anche cognitiva, emotiva, culturale, estetica e persino linguistica. Recuperare il (...) valore intellettuale e culturale del gusto vuol dire restituire dignità a una componente importante della nostra conoscenza sensibile, riconoscendo il contributo che ciascun dispositivo sensoriale sa apportare alla conoscenza della realtà con un accento suo proprio, pur entro un’ineliminabile ‘concertazione’ sinestetica. Espressione di un atto ‘estremo’ di conoscenza incarnata, il gusto è dopotutto l’unico senso a esigere l’introduzione di frammenti di mondo dentro di noi, l’unico che ci consente di assimilare totalmente l’oggetto esterno (la cosa gustata) fino a farlo diventare parte di noi. Un’esperienza così esclusiva e intima – in cui sia il soggetto gustante sia l’oggetto gustato risultano trasformati – non può pertanto non suscitare una riflessione sul gusto come intelligenza del corpo e come strumento per meglio comprendere quel complesso intreccio di mente e di corpo, di ragione e di passione, di vincoli biologici e di attrezzature culturali che è l’animale umano. Partendo da queste premesse proveremo a spiegare brevemente cosa vuol dire ‘saper gustare’ e in che senso quest’attività contribuisce a qualificare la nostra umanità. (shrink)

O objetivo deste ensaio é refletir sobre o significado da expressão “arte do paladar”, enfocando os aspectos da nossa história evolutiva – uma história contemporaneamente biológica e cultural – os quais fizeram de nós os únicos “macacos” capazes de cozinhar o alimento, de produzi-lo de modo sistemático, de escolhê-lo em meio a uma vasta gama de alimentos, com base em diferentes critérios, de atribuir-lhe um valor simbólico e de celebrálo através da linguagem; razões pelas quais o homem pode reivindicar plenamente (...) a invenção dos sabores. Resultado de um longo processo de elaboração da natureza, a arte do paladar é, portanto, o resultado de todos os processos pelos quais transformamos um dos atos mais naturais, isto é, o ato de comer, em um artificial, cultural e intelectual, aplicando um conhecimento, um saber prático, para conceber, imaginar e elaborar novos objetos alimentares, novas sensações para o paladar, novas possibilidades de interação social. Palavras-chave: Arte de alimentos. Sabor. Cozinhar. Culinária. Linguagem. (shrink)

Tra il gusto, il cibo e il piacere esiste un legame complesso che oltrepassa le necessità legate alla sopravvivenza, contribuendo al raggiungimento di quella felicità che è il fine ultimo cui tende l’uomo. Fonte di nutrimento, per il corpo come per la mente, e nel contempo di godimento, l’atto di gustare il cibo soddisfa tutti i sensi, accende la nostra vita emotiva, stimola la nostra mente, promuove la socialità, gratifica il nostro senso estetico e sinestetico, sollecita la conversazione, crea talvolta (...) godibili dipendenze, arricchendosi di significati diversi. Partendo da queste premesse, questo saggio, attingendo da fonti diverse, si propone di restituire al poliedrico piacere di gustare il suo vero valore, esplorandone le molteplici declinazioni, gli innumerevoli modi che ci siamo inventati per prolungare questo piacere, alla ricerca di gratificazioni del palato alternative a quelle offerte dalla natura. Un tema filosoficamente e antropologicamente interessante, specialmente per chi intende praticare una filosofia incarnata, fondata cioè sul corpo vivente e sensiente. Parole chiave: Piacere del gusto. Passione. Gustare. Emozioni. Avanguardia culinaria. Spettacolarizzazione del cibo. Food porn. (shrink)

Technology has become one of the main channels through which people engage in most of their everyday activities. When working, learning, or socializing, the affordances created by technological tools determine the way in which users interact with one another and their environment, thus favoring certain actions and behaviors, while discouraging others. The ethical dimension behind the use of technology has been already studied in recent works, but the question is often formulated in a protective way that focuses on shielding the (...) users from potential detrimental effects. Nevertheless, when considering collateral ethical benefits that the use of technology could bring about, virtue ethics and the notions of “practice” and “practical wisdom” present new opportunities to harness this potential. By understanding the combination of technology, its users and their interactions as a system, technology can be seen as the space where most of its users’ daily practice happens. Through this practice, users can get the chance to collaterally develop and enhance their ethical awareness, sensitivity and reasoning capabilities. This work is shaped as a manifesto that provides the background, motivations and directions needed to ask a complementary question about the ethics of technology that aims towards the potentiality behind the use of technology. Instead of focusing on shielding the users, the proposed _ethical idealist_ approach to the ethics of technology aims to empower them by understanding their use of technology as the space where the development of their practical wisdom, understood in the virtue ethics’ sense, takes place. (shrink)

This article analyses the original core of the ‘Art’ of Ramon Llull, which, according to the author, was the result of a vision on Mount Randa. We start from the paradoxical fact that Llull describes his Art as a result of an immediate revelation, but throughout his life constantly reworked the artistic structure, in both formal and procedural aspects. We thus take a hermeneutical approach to the ontology, logic and symbolism of Llull’s Art to define as precisely as possible what (...) remained constant through the changes. We conclude that the so-called ‘illumination of Randa’ was actually a mystical vision of the cosmos and its internal relations, but not the argumentative process of the Art, which Llull clarified over the course of his life. (shrink)

Imagination has received a great deal of attention in different fields such as psychology, philosophy and the cognitive sciences, in which some works provide a detailed account of the mechanisms involved in the creation and elaboration of imaginary worlds. Although imagination has also been formalized using different logical systems, none of them captures those dynamic mechanisms. In this work, we take inspiration from the Common Frame for Imagination Acts, that identifies the different processes involved in the creation of imaginary worlds, (...) and we use it to define a dynamic formal system called the Logic of Imagination Acts. We build our logic by using a possible-worlds semantics, together with a new set of static and dynamic modal operators. The role of the new dynamic operators is to call different algorithms that encode how the formal model is expanded in order to capture the different mechanisms involved in the creation and development of imaginary worlds. We provide the definitions of the language, the semantics and the algorithms, together with an example that shows how the model is expanded. By the end, we discuss some interesting features of our system, and we point out to possible lines of future work. (shrink)

The concept of will to power is one of the most important Nietzsche’s theories, that deals with the capacity of a person to face death and the thought of his own sacrifice without any fear, in order to obtain one’s self-overcoming. The so called will to wreck is the most powerful objectification of will to power, and it is deep-rooted in European society, especially German popular ideology. Actually, it is possible to find this conception of will to wreck in connection (...) with will to power in Nibelungenlied, the greatest Nordic poem of 13th century, and, years and years later, in Nazi ideology (and of course Nietzsche himself), as a proof of the temporal continuity of this particular philosophy. A philosophy which is probably part of our psychology, and which is not likely to be easily forgotten though its terrible, destructive power. (shrink)

Se trata de una obra en la que se hace una delimitación de los diversos tipos de “contenido” del lenguaje. En esta delimitación radica la base diferencial entre una lingüística de la lengua y una lingüística del hablar.

Here we study polysemy as a potential learning bias in vocabulary learning in children. Words of low polysemy could be preferred as they reduce the disambiguation effort for the listener. However, such preference could be a side-effect of another bias: the preference of children for nouns in combination with the lower polysemy of nouns with respect to other part-of-speech categories. Our results show that mean polysemy in children increases over time in two phases, i.e. a fast growth till the 31st (...) month followed by a slower tendency towards adult speech. In contrast, this evolution is not found in adults interacting with children. This suggests that children have a preference for non-polysemous words in their early stages of vocabulary acquisition. Interestingly, the evolutionary pattern described above weakens when controlling for syntactic category (noun, verb, adjective or adverb) but it does not disappear completely, suggesting that it could result from a combination of a standalone bias for low polysemy and a preference for nouns. (shrink)

This essay examines Arendt’s descriptions of “Hottentots” in The Origins of Totalitarianism, especially the comparisons and contrasts she frequently draws between Hottentots and other peoples. In particular, Arendt highlights dehumanization of presumptively “civilized” people in comparing them to African “savages.” Close reading of such analogies demands that we look beyond the racial explanations that other scholars have offered and focus instead on how Arendt’s conception of humanity is bound up with a specific sense of culture that is antiprimitivist—exclusive of peoples (...) without history, primitives. Analysis of her moral anthropology uncovers the Cape Colony discourses and postenlightenment German philosophical supports that inform her antiprimitivism. However, Arendt’s antiprimitivism may not remain confined to Origins. In later essays, Arendt analyzes the various aspects of culture in instructive ways.Yet she also synthesizes culture concepts into a schema that introduces problems for her. (shrink)

In this paper, we review three influential theories of imagination in order to understand how the dynamics of imagination acts could be modeled using formal languages. While reviewing them, we notice that they are not detailed enough to account for all the mechanisms involved in creating and developing imaginary worlds. We claim those theories could be further refined into what we call the Common Frame for Imagination Acts, which defines a framework that can be used to study the dynamics of (...) imagination using formal languages, and we support our claim by showing how the framework allows to model certain imagination acts step by step. Then, we introduce the Rhombus of Imagination, which is a visual tool that can be used in conjunction with our framework to study the procedural structure of different kinds of imagination acts and identify their dynamic properties. (shrink)

In this paper, we review three influential theories of imagination in order to understand how the dynamics of imagination acts could be modeled using formal languages. While reviewing them, we notice that they are not detailed enough to account for all the mechanisms involved in creating and developing imaginary worlds. We claim those theories could be further refined into what we call the Common Frame for Imagination Acts, which defines a framework that can be used to study the dynamics of (...) imagination using formal languages, and we support our claim by showing how the framework allows to model certain imagination acts step by step. Then, we introduce the Rhombus of Imagination, which is a visual tool that can be used in conjunction with our framework to study the procedural structure of different kinds of imagination acts and identify their dynamic properties. (shrink)

A partir del siglo XX se ha dado un cambio de paradigma en el proceso de enseñanza-aprendizaje con el apoyo de las nuevas tecnologías se añade a la creación de empresa la denominación de Spin Off que permite explotar la investigación y el conocimiento –práctico de los estudiantes. Su creación se basa en el proceso de constitución deSociedades por Acciones Simplificadas (SAS) y un modelo paralelista de doble entrada (conocimiento/práctica) para el desarrollo académico de Contabilidad financieraavanzada. Los estudiantes responden a (...) esta iniciativa con empoderamiento de lasobligaciones asignadas tanto a nivel operativo, de aplicación contable y fiscal. (shrink)

In this paper, we review three influential theories of imagination in order to understand how the dynamics of imagination acts could be modeled using formal languages. While reviewing them, we notice that they are not detailed enough to account for all the mechanisms involved in creating and developing imaginary worlds. We claim those theories could be further refined into what we call the Common Frame for Imagination Acts, which defines a framework that can be used to study the dynamics of (...) imagination using formal languages, and we support our claim by showing how the framework allows to model certain imagination acts step by step. Then, we introduce the Rhombus of Imagination, which is a visual tool that can be used in conjunction with our framework to study the procedural structure of different kinds of imagination acts and identify their dynamic properties. (shrink)

Imagining is something we use everyday in our lives and in a wide variety of ways. In spite of the amount of works devoted to its study from both psychology and philosophy, there are only a few formal systems capable of modelling it; besides, almost all of those systems are static, in the sense that their models are initially predefined, and they fail to capture the dynamic process behind the creation of new imaginary scenarios. In this work, we review some (...) influential theories of imagination and use their insights to distil an algorithm describing such process. Then, we use this algorithm to define a dynamic logical system built upon on a single-agent epistemic logic that provides the necessary tools to capture how the agent voluntarily creates new imaginary worlds; in other words, our system allows the model to be expanded dynamically at any time as a result of the agent performing an act of imagination. Furthermore, we provide an axiomatization and prove that the system is sound and complete. (shrink)

Se justifican tres tesis. Primera, el sentido mítico-religioso tradicional de la justicia como castigo de la [palabra en griego] quedó desacreditado durante la Guerra del Peloponeso, como bien lo muestra Tucídides. Segunda, en tiempos de Aristóteles, tal sentido ya habría desaparecido en favor de un nuevo paradigma basado en el concepto de [palabra en griego]. Tercera, la obra de Platón constituye uno de los últimos intentosde recuperar ese sentido mítico-religioso tradicional tratando de interpretar la Guerra del Peloponeso a través del (...) mecanismo del castigo de la [palabra en griego] . --- “The notion of ‘hybris’ in Plato’s Critias”. The following theses are basically justified: (1) the traditional mythical-religious sense of justice as punishment of the [greek word] was discredited during the Peloponnesian War, as Thucydide shows. (2) In times of Aristotle such a sense had already disappeared in favour of a new paradigm based on the concept of [greek word]. (3) Plato’s work constitutes one of the last attempts to recover the traditional mythical-religious sense trying to interpret the Peloponnesian War through the mechanism of punishment of the [greek word]. (shrink)

A pesar de la relevancia que ganó el pensamiento de Jean-François Lyotard con la publicación de La Condition postmoderne (1979), solo un pequeño número de publicaciones académicas han abordado sus primeras propuestas en el campo de la estética. Este artículo pretende contribuir a la tarea de enmendar semejante error. Para ello se propone una aproximación general y sistemática a sus primeros usos del concepto de figura, comenzando por sus precedentes e influencias y concluyendo con la afirmación de que la estética (...) de Lyotard no expone una mera filosofía de las artes o una filosofía de la percepción, sino una auténtica ontología. Para facilitar la comprensión de esta cuestión, se abordarán algunos de sus conceptos más complejos, como el de figura-matriz, y se harán pequeñas aproximaciones a la producción de artistas como Joan Fontcuberta y Peter Tscherkassky, cuya obra explicita el tema central de este artículo: la poética, la política y la ontología de la figura. (shrink)