O tema da pessoa humana em Agostinho apresenta-se entrelaçado à noção depessoa divina, de onde deriva. Buscaremos contextualizá-lo abordando alguns de seus desenvolvimentos, com ênfase nas questões da ipseidade e da interpessoalidade. Assim, inicialmente, será examinado o significado da pessoa humana, sob o ponto de vista da ipseidade, conforme o problema surge no l. VII do De Trinitate. Será destacada a questão dos universais e a interlocução de Agostinho com a lógica aristotélica. Em seguida, será abordada a questão da interpessoalidade; (...) aqui, levanta-se uma oposição à tese de que há em Agostinho um certo esquecimento do “ser em relação” em detrimento da ideia de comunhão e da importância das relações interpessoais na gênese do “eu”. Em suma, pretende-se apontar como a ideia de “pessoa” em Agostinho exprime, quer a individualidade, quer a relacionalidade. Os medievais e os contemporâneos irão trabalhar com essas noções e as desenvolverão sob o influxo do pioneirismo e do contributo agostiniano. (shrink)

Candor stands as the keystone element in creating the foundation of trust in the Army, yet the topic is muted. Stewards of the Army Profession build trust through authentic communication -- in education, training, and modeled in application. Candor was previously included in Army Doctrine, yet nearly no mention of it currently exists in professional military education and dialogue. Through personal experiences and review of literature, two examples -- the demands placed on the Army Reserve Components and a review of (...) the Army's counseling and evaluation environment -- serve as illustrations where candor requires revitalization. Candor must be reinforced to be valued or it remains peripheral, serving as a lesson that is equally damaging to individual character as is it institutionally to the Army. (shrink)

Based on Nietzsche's reflections about the human action and the overman, this article focuses on that philosopher's devastating criticism of the classical ethics in the light of the 19th century broader deconstruction context of the ingrained former ethical values. Two issues are highlighted: Did the suspicions he threw on classical ethics unleash an ethical void? Would the historical and social realization of the Unwertung be just an utopia?Baseado nas reflexões de Nietzsche sobre a ação humana e o além-do-homem, este artigo (...) discute sua crítica demolidora à ética clássica à luz do contexto mais amplo do século XIX de desconstrução dos valores éticos enraizados até então. Duas questões são enfatizadas: A suspeita lançada por Nietzsche sobre a ética clássica desencadeou um vazio ético? A efetivação histórico-social da Unwertung seria apenas uma utopia? (shrink)

The objective of this article is to show Augustine’s originality in ascribing a key role to will in the cognitive activity. For him, knowledge is influenced by both will and love, and cannot be grasped without will. Grounded primarily on De trinitate, the article focuses on three kinds of knowledge that shed light on his peculiar view on will: self-knowledge, knowledge of God, and the knowledge of bodies.L’objectif de cet article est de montrer que l’originalité d’Augustin est d’attribuer un rôle (...) clé à la volonté dans l’activité cognitive. Pour lui, la connaissance est influencée tant par la volonté que par l’amour et ne peut être appréhenéee sans volonté. Se basant principalement sur De trinitate, cet article se concentre sur trois genres de connaissance qui mettent en lumière sa conception particulière de la volonté : la connaissance de soi, la connaissance de Dieu et la connaissance des corps. (shrink)

Baseado nas reflexões de Nietzsche sobre a ação humana e o além-do-homem, este artigo discute sua crítica demolidora à ética clássica à luz do contexto mais amplo do século XIX de desconstrução dos valores éticos enraizados até então. Duas questões são enfatizadas: A suspeita lançada por Nietzsche sobre a ética clássica desencadeou um vazio ético? A efetivação histórico-social da Unwertung seria apenas uma utopia?

ABSTRACT: The objective of this article is to show Augustine’s originality in ascribing a key role to will in the cognitive activity. For him, knowledge is influenced by both will and love, and cannot be grasped without will. Grounded primarily on De trinitate, the article focuses on three kinds of knowledge that shed light on his peculiar view on will: self-knowledge, knowledge of God, and the knowledge of bodies.RÉSUMÉ: L’objectif de cet article est de montrer que l’originalité d’Augustin est d’attribuer (...) un rôle clé à la volonté dans l’activité cognitive. Pour lui, la connaissance est influencée tant par la volonté que par l’amour et ne peut être appréhenéee sans volonté. Se basant principalement sur De trinitate, cet article se concentre sur trois genres de connaissance qui mettent en lumière sa conception particulière de la volonté : la connaissance de soi, la connaissance de Dieu et la connaissance des corps. (shrink)

Os escritos de Evágrio Pôntico, monge do século IV, embora não constituindo um sistema filosófico, são de capital importância para compreendermos o desenvolvimento da cultura ocidental. No presente trabalho, todavia, operamos um corte epistemológico diferente. Buscamos na sua obra Tratado Prático, primeira parte de uma trilogia de teologia espiritual, elementos de uma doutrina psicológica que, é o que pretendemos demonstrar, se constitui em verdadeira terapêutica. Assim, exploramos alguns conceitos fundamentais dessa obra, tais como os de impassibilidade, de pensamentos passionais, e (...) o de paixões, e também doutrinas importantes, como a da divisão tripartite da alma e a demonologia evagriana. (shrink)

This chapter argues that Wittgenstein wasn’t a mere pretext for Paolozzi and that it is impossible to fully understand the artist’s work without considering his relationship to the Austrian philosopher. Furthermore, Paolozzi—as an artist—recognized various aspects of Wittgenstein’s thought and let them come to light in a period when they were still concealed to the majority of interpreters with a philosophical background. In this sense, Perissinotto demonstrates that Paolozzi’s work fully belongs to the general story of Wittgenstein’s (...) critical reception. In order to do so, the chapter attempts a reconstruction of the cultural environment where Paolozzi met Wittgenstein, meant both as the general philosophical reception of Wittgenstein in the 1950s and 1960s, as well as Paolozzi’s direct testimony on his encounter with the Austrian philosopher. Eventually, Perissinotto systematically analyses several “wittgensteinian” works of Paolozzi to understand how much of these works is borrowed from Wittgenstein, but also what of Wittgenstein and which Wittgenstein lives and acts in them. (shrink)

This impressive edited collection investigates the relationship between British Pop Art pioneer Eduardo Paolozzi and the philosopher Ludwig Wittgenstein. At this time, when Paolozzi’s oeuvre is in the process of being rediscovered, his long-time fascination with Wittgenstein requires thorough exploration, as it discloses a deeper understanding of his artistic production, further helping to reassess the philosopher’s actual impact on visual arts and its theory in the second half of the 20th century. With 13 diverse and comprehensive chapters, bringing (...) together philosophers and art historians, this volume aims at retracing and pondering the influence of Wittgenstein on the idea of art in Paolozzi, thus giving an unprecedented insight into Wittgenstein’s philosophy as employed by contemporary artists. (shrink)

In this article I argue that the strong fascination that Wittgenstein has had for artists cannot be explained primarily by the content of his work, and in particular not by his sporadic observation on aesthetics, but rather by stylistic features of his work formal aspects of his writing. Edoardo Paolozzi’s testimony shows that artists often had a feeling of acquaintance or familiarity with the philosopher, which I think is due to stylistic features of his work, such as the colloquial (...) tone in which Wittgenstein shares his observation with the reader, but also the lack of long-winded arguments or explanations. In the concluding part I suggest that we can read Wittgenstein’s artworks of a specific kind: as philosophical works of art. (shrink)

This article examines work by the artist Eduardo Paolozzi related to the philosopher Ludwig Wittgenstein, arguing that Paolozzi’s print series As Is When, executed in 1964-65, together with work from nearly three decades later (Manuscript from Cassino), can be seen as a comprehensive examination of Wittgenstein’s earlier and later philosophy. Further, this article argues that Paolozzi’s take on Wittgenstein forms a new aesthetic ontology of “film”, embedding its reading of Wittgenstein in a reified Platonic cave, whose escaped (...) philosopher finds himself basking only in the light of the artificial sun of the flickering cinema light. (shrink)

In this chapter, Huemer argues that the strong fascination Wittgenstein had for artists cannot be explained primarily by the content of his work, and in particular not by his sporadic observation on aesthetics, but rather by stylistic features of his work’s and formal aspects of his writing. Eduardo Paolozzi’s testimony shows that artists often had a feeling of acquaintance or familiarity with the philosopher, which—it is suggested—is due to stylistic features of his work, such as the colloquial tone in (...) which Wittgenstein shares his observations with the reader, but also the lack of long-winded arguments or explanations. In the concluding part, Huemer suggests that we can read Wittgenstein’s writings as artworks of a specific kind: as philosophical works of art. (shrink)

This chapter serves as an introduction to a carefully planned research and mutually curated volume on the relationship between Pop art initiator Eduardo Paolozzi and celebrity philosopher Ludwig Wittgenstein. Mantoan and Perissinotto argue that this peculiar encounter between an artist and a philosopher—both as a man and as far as his philosophy is concerned—was a “kind of happening”, which took place years before the generation of future conceptual artists had even entered art school. Not only was Paolozzi the (...) first and perhaps still is the only artist who devoted a substantial part of his oeuvre to the Austrian philosopher, but his works also impress even a philosophically qualified audience for the level of expertise and intuitiveness with which the writings of Wittgenstein are handled. Hence, Mantoan and Perissinotto pursue a twofold aim: on the one side, to present the artist Paolozzi as a precursor in reading Wittgenstein in the field of contemporary art, influencing or forestalling the then upcoming generation of conceptual artists; on the other side, to demonstrate how the reader Paolozzi may even be seen as a precursor as regards the interpretation of Wittgenstein’s philosophy. (shrink)

Play and the Artist’s Creative Process explores a continuity between childhood play and adult creativity. The volume examines how an understanding of play can shed new light on processes that recur in the work of Philip Guston and Eduardo Paolozzi. Both artists’ distinctive engagement with popular culture is seen as connected to the play materials available in the landscapes of their individual childhoods. Animating or toying with material to produce the unforeseen outcome is explored as the central force at (...) work in the artists’ processes. By engaging with a range of play theories, the book shows how the artists’ studio methods can be understood in terms of game strategies. (shrink)

This paper considers Joseph Margolis’ aesthetics as an insightful way to draw a critical balance on the whole venture of defining art, with a crucial reference to Wittgenstein’s legacy. The point of departure is Margolis’ claim that the whole definition debate began with a misinterpretation of Wittgenstein’s teaching, whose meaning would not consist in denying any definition of art, but rather in refuting the possibility of giving one only, clear and distinct as well as context-independent definition of it. The chapter (...) moves on to reconsider Margolis’ first definition of works of art as physically embodied and culturally emergent entities by focusing both on its significance within the analytic debate and on those features leading him beyond the question “What is art?”, towards a philosophy of culture and philosophical anthropology. To understand art, we need to address the question of the relation between a cultural form of life and the nature of persons or selves taking part in it. Hence, we are compelled to broaden the margins of the definition and the question arises of whether it is still worthwhile to speak of a philosophical definition of art beyond the everyday usage of the term “definition”. (shrink)